No Dreams Left Behind

THE CLOCK IS TICKING, THE TIME IS NOW

A film by Dylan Wineland & Gareth Leah

Featuring: Gareth Leah | Director of Photography & Editor: Dylan Wineland | Color: Jensen Vinca | Assistant Camera: Samantha Cockayne, Bruce Wilson & Clark Aegerter

 

Icannot think of anyone in my life that does not possess a dream of some kind. For many, realizing those dreams often becomes a tug of war between everyday commitments and the chastising fear of failure in the pursuit of said dream. Lofty goals of climbing Everest, becoming a pilot, or building their own house, car, or motobike are often cast aside because “I don’t know how to” and are labelled as pipe dreams.

As a boy, my dream was to ride motorbikes. My parents didn’t much like the idea. They were “death machines” in their eyes. My dad had lost several friends to riding and recovered from a handful of bad accidents himself. One day I built up the courage to ask my Dad if I could have one. He told me “If you’re man enough to own a motorbike, you’re man enough to move out of home”. I understood the somewhat cryptic message he was telling me and not wanting to push the matter further, I locked the dream away in the back of my mind. That was until the morning of my 34th birthday.

That day, I sat down in my front room, closed my eyes, and tried to envision which of my dreams had I accomplished, which ones were left, and how long I had to accomplish them.

A sense that my time was escaping me consumed my thoughts. Life suddenly seemed finite. I felt that if I was to accomplish any of my dreams, I had to cast aside doubt, lack of knowledge, and apprehension, and lean into the unknown, just as I had as a boy.

No dreams left behind.

 

Ghosts Of New England

A MAD DASH TO THE EDGE OF AMERICA

Words by Ben Giese | Photography by John Ryan Hebert

Filmed & Edited by Kasen Schamaun | Produced & Directed by Ben Giese

 

The sky was dark and ominous above Grand Isle, Vermont, as my younger brother Mike and I geared up to head east across the old colonial backroads of New England. A bitter cold mist settled on the jet-black pavement as we layered up to stay warm for the rainy evening ahead. We had 72 fast and furious hours to slice through the neck of America, and 450 beautiful miles of lush rolling hills, charming historic towns and endless golden foliage ahead of us.

 
 
 
 
 

The plan was to zigzag our way to the great Atlantic coast of Maine, then turn south along the quiet shores of New Hampshire and Massachusetts to our final destination in Boston. 

Within the first few miles we passed by some old farmhouses decorated with pumpkins and Halloween skeletons, and it was just the kind of October scene I had always imagined. I’ve dreamt of a motorcycle trip like this for many years now, and my long-lost fantasy to experience fall in the Northeast was finally happening. We were officially on our way, off into the autumn wonderland on two brand-new Royal Enfield Continental GTs, with all the miles ahead and all the things to see. I could hardly wait, and having my brother here with me just made the trip that much more special. 

 
 
 
 

We’ve been riding together as long as I can remember, but we’ve never taken an adventure quite like this. And now that we’ve become adults living in different cities across this great big country, these opportunities and this time together feels a lot more meaningful. 

Dusk began to creep in and the gray skies darkened as we passed through some dreary little East Coast towns. Dim lights illuminated the sleepy streets, and sad old homes with chipped paint were tucked away in the trees, hidden in the hills and forgotten to the world. These lonely towns radiate a kind of sadness, but not the depressing kind you might imagine. It’s more of a beautiful and poetic sadness, with a palpable sense of nostalgia that can only be found in these older parts of America. 

 
 
 
 

Darkness came quickly and the freezing rain followed, so it was time to seek some food and shelter to warm our bones. We shivered into a cozy restaurant in an old brick building and laughed with joy at our newfound comfort, celebrating with a feast of smoked brisket and delicious local microbrews. Our shelter for the evening was just down the road in a cabin in the woods, where we lost our minds in a swirl of music, laughter and card games late into the night before falling asleep on a dusty couch to the soothing sound of rain on the old metal roof. 

The dark clouds followed us that next morning, and we prepped for a cold and wet day ahead, but the gods of New England were kind and we managed to stay dry the entire ride. We were blown away by the beauty and charm of rural Vermont, so we took the longest way possible to Portland. We followed the backroads south, and then north, slowly creeping toward our destination in the east. We stopped frequently to take in the sights, but never for too long. We had to keep moving. There was too much to do, too much to see, too far to go, and we wanted it all. So we just kept going and stopping and going in a frenzy of excitement for the road ahead. 

 
 
 
 
 

The hours melted away with the greenest rolling hills we’d ever seen, and we lost all sense of time and direction wandering the canopied forest as amber leaves rained down on us from the heavens. There were classic old trucks parked in front of big red barns, and little shops in small towns selling Vermont maple syrup. We were surely behind schedule to make Portland by dusk, but it didn’t really matter. There was a fairytale happening all around us, and we never wanted it to end. 

New Hampshire blessed us with more beauty as the sun was getting low and pastel cotton candy clouds gleamed off the endless glassy lakes surrounding us. By this point, we started picking up the pace to make up for lost time, making it to the border of Maine just after dark. We crossed the entire state in blackness, like ships in the night through a daze of darkness and delusion. 

 
 
 
 

I could see the lights of cottages flashing by in the woods, and I could smell fireplaces and cooking coming from inside. I imagined families at home, resting in their islands of comfort and warmth, with no sense of the crazed riders outside on a mad dash into the cold black abyss. Ghosts from the West, invisible to the world, sailing east through the haunted October trees of Maine.

We never saw the sun in Portland because our madness for the road ahead was pulling us forward to something more spectacular. And as we crested one final hill, the great Atlantic Ocean revealed itself, reflecting the deep-blue early-morning glow of a sun yet to rise. We made it to the end of the earth, 2,000 miles from home at the edge of the American continent, just in time to watch a new day begin. The world was still asleep as we stood on a cliff near the historic Portland Head Lighthouse. Waves crashed on the rocks below, and the sun slowly rose from behind the horizon, and all those crazy miles behind us were well worth the view.

 
 
 
 
 
 
 

It would be a much more mellow and relaxing day on the coast of Maine. We could finally shed some layers as the temps warmed up and a salty ocean breeze lulled us along the shore through dreamy beachside communities and quaint fishing villages. We made a few detours to check out some lighthouses along the way, and of course we had to try some lobster rolls for lunch, because that’s what you do in Maine. 

When we finally reached the North Shore of Boston, we got tied up in the mania of rush hour traffic, with all the people coming and going, to and from the business of their lives. The defeated faces of Boston workers trying to get home on a Wednesday evening told the story of broken dreams and the search for cheese in a rat race that never ends. I felt badly for those people, and as the sun went down over the Massachusetts Bay, I contemplated how lucky we are to be here. To have this unforgettable experience with my brother, and to escape that mad way of living for a few days. And when I stop to think about the whole point of this whirlwind adventure, I realize there never really was one to begin with. It was simply about seeing a new place. Smelling it and tasting it and experiencing it for all that it is. 

 
 
 

I used to sit and wonder what autumn in the Northeast might be like, but now I can dream about those rolling hills of Vermont and the wise old lighthouses on the coast of Maine. The trees and the farms, the glassy lakes and salty ocean breeze, the briskets and beers, and the sad towns and dark nights. I’ll remember all the little roads between, and all the things we saw along the way. Like ghosts of New England, invisible to the world, passing through for one moment and gone the next. Eyes fixed on the road ahead. The only road we’ve ever known.

The Last Wilderness

A PLACE WHERE THE DREAMS NEVER END

Words by Chris Nelson | Photography by John Ryan Hebert

Filmed & Edited by Daniel Fickle | Soundtrack by John Ryan Hebert | Produced & Directed by Ben Giese

 

The dreams don’t end after we open our eyes. First, we taste the thick morning air that drips through the mesh of our tents, and in the tree branches above us we watch the tangled strings of pale green moss hanging down like long, bony fingers coaxing us to climb out of our sleeping bags. As we walk through the small, dank campground we see a thick brown slug slime its way up the side of an empty can of Rainier Beer, breathing through an open stoma on the side of its body. Then a deep voice cuts through the quiet dawn: “The water is warmer than the air is,” Noah Culver says as he stands knee-deep in Lake Quinault, which sits at the bottom of a glacial valley on the southwest corner of the Olympic Peninsula in Western Washington State.

 
 
 
 

Known as America’s last wilderness, the 3,600-square-mile Olympic Peninsula is home to rugged alpine mountain ranges, primordial beaches, salmon-filled rivers, and vast temperate rainforests that stretch from the Pacific Coast to the Strait of Juan de Fuca, which separates the northernmost edge of the U.S. from Canada. The Olympic Peninsula is now visited by over three million people annually, but native tribes had thrived in the formidably beautiful paradise for millennia prior to the arrival of European settlers in the 1500s, who came to poach otter pelts and strip the forest of its timber.

It wasn’t until 1897 that the area received its first national designation, Olympic Forest Reserve. Forty years after that, President Franklin Roosevelt visited the Peninsula and gave his support for the establishment of a national park in order to protect its natural resources, as well as the cultural histories of its Native peoples. Today, eight Olympic Peninsula tribes recognize a relationship to the park based on traditional land use and spiritual practices, and one of them, the Quinault Indian Nation, claims ownership of the water that Culver slowly wades through.

 
 
 
 
 
 
 

A Hollywood-based producer who has brought to life some of television’s most addictively and mindlessly entertaining shows, Culver shuffles his feet across the pebble lakebed with a steaming mug of instant coffee in hand. The ripples in the water break the still, mirror-like surface blanketed in an opaque layer of fog, split in the middle like an over-risen loaf of bread, and through the break we see the silhouettes of grand houses tucked into the trees on the far side of the lake, bathed in citrus sunrise. Suddenly another man, Mike Burke, bursts forth from his cheap, child-sized tent and runs into the water, until he trips and plunges down with a violent splash. When he stands up, he looks back at the shore with a wide, wild smile as water pours out from his snarled beard.

 
 
 
 

Burke owns a company that does large-format digital printing, and he and Culver were invited on this adventure by their friends Alan Mendenhall and Thom Hill of Iron & Resin, a Ventura, California-based clothing company. None of the four men had ever visited the Olympic Peninsula and thought it would be an idyllic location to ride motorcycles and photograph a lookbook for Iron & Resin’s newest collection. They invited META along to document their two-day ride north from the lake along the lone road that loops around the Peninsula, U.S. Route 101, to explore as much as possible before ending the trip at the top of Mount Olympus on the edge of the Peninsula’s largest city, Port Angeles. 

Once everyone finishes their coffees, the guys saddle up on an eclectic collection of motorcycles: Burke has his Yamaha WR450, Culver rides a Honda XR600, Hill brought his Ducati Scrambler Desert Sled, and Mendenhall has a Harley-Davidson Sportster 1200 that he recently transformed into a Baja-worthy, scrambler-style bobber. They ride in a tight pack through the morning mist as small leaks of sunlight shimmer gold against their wet waxed-canvas jackets. After 30 minutes, they arrive at Kalaoch Campground, which is perched on rocky bluff above a sandy beach that is home to “The Tree of Life,” a large Sitka spruce tree that continues to green despite the ground around its roots having eroded long ago, making the tree appear to float in the air.

 
 
 
 
 

We set up camp at a first-come, first-served site before getting back behind the handlebars and riding an hour inland to the Hoh Rainforest, one of four temperate rainforests on the Olympic Peninsula. We wade through the mile-long Hall of Mosses trail loop, which can be one of the quietest places in America. We stare up at the lush green canopy created by the huge, knotted branches of big-leaf maples, cedars, spruces, hemlocks, and firs, with bright-yellow leaves falling through beards of clubmoss and swaying epiphytes. Underfoot is a soft, soggy forest floor of mosses, lichens, and ferns that Burke can’t help but jump up and down on, amazed by its sponginess. Culver quips that it looks like the Hobbit home of the Shire, and asks, “Did anybody else’s feet just grow a few inches, or is it just me?” 

 
 
 
 

On the way back to camp, we decide to stop at Ruby Beach, where massive sea stacks stand sentry just offshore, bald eagles nest in the bluff trees, plum starfish crawl through the coastline tide pools, and huge piles of driftwood collect on the shingly beach, the bones of the rainforest picked clean by the sea. Burke jumps up onto a long-dead tree trunk and starts pushing his feet forward, riding the driftwood down the beach like a professional log roller. 

He loses his footing just before reaching the water, but then out of nowhere, Mendenhall jumps on and finishes the job. Unfortunately, the fun was short-lived, because Instagram fame turned this once-untouched beach into a destination for van-life influencers and misguided couples who force their camera-shy dogs into self-indulgent engagement photos, and before long our patience wore thin, our bellies moaning for dinner and beer.

 
 
 
 
 
 
 

Back at camp, Willie Nelson plays through a Bluetooth speaker as we build a campfire and watch Hill plop sausages into a beer-filled crock, cutting potatoes into wedges and wrapping them in aluminum foil lined with butter and garlic. For whatever reason, food is more satisfying when cooked over an open flame. We spend the rest of the evening sharing stories, telling jokes, and laughing under the moonlight. 

The forecast had called for heavy rain throughout the night and into the following day. Most of the Olympic Peninsula is typically wet and rainy, especially in the shoulder seasons and winter, so we had figured it would likely be unavoidable. As we head north the following morning on the 101 through the now-famous town of Forks – where Stephenie Meyer’s Twilight book series is based – the gloomy scene still feels like a dream, but one that at any moment could turn into a nightmare: darker, drearier, more ominous and foreboding, yet still undeniably captivating. Thankfully we get to enjoy a short break in the weather as we ride around Lake Crescent, a deep, glacially carved lake in the northern foothills of the Olympic mountains.

 
 
 
 

The rain falls in cold, whipping sheets as we start up Hurricane Ridge Road, a steep, 17-mile stretch of smooth pavement with tunnels, chicanes, and long corners that climbs to an elevation of over 5,200 feet. On a clear day the peak offers incredible panoramic views of Olympic National Park, but all we can see are dark silhouettes of pines set against the faint outlines of distant mountaintops. All four guys tremble with cold in the dripping wet, but they can’t help but smile. Burke says, “It’s about enjoying these moments, no matter what. Even riding through this pissing rain, I don’t care that my legs are cold, and my hands are frozen ... it’s clarity, it’s freedom, it makes me feel alive and brings value to my life.”

We all crack open beers and offer cheers to the Olympic Peninsula, which we agreed is one of the most fantastically inspiring places any of us has visited. Though it is no longer untouched by modernity, the Olympic Peninsula remains a sanctuary for those seeking asylum from the pressures of contemporary living, and its wiles are best experienced from the seat of a motorcycle. 

Culver puts it best: “We live in this world full of complication, where you’re constantly having to choose your words carefully and negotiate this crazy world we live in, but anytime you get out into a place like this, it’s full of honesty. If it’s cold, you’re cold. What you see is what you get, and there’s no complication to it. You get to be in this situation where all of those complications are gone, and as humans we crave that kind of honesty.”

 

As much as we want to descend into the town of Port Angeles and find somewhere to warm our bones, none of us moves an inch, unaccepting of the impending return to normality and life’s complications. We let the rain slap against our skin as we search through the darkened trees to find grazing blacktail deer and squint to find the massive blue glacier at the peak of Mount Olympus, and in that moment, we shared the significance of standing in one of the most awe-inspiring places in America. We never would have been able to leave if we didn’t believe that when we lay down in our beds that night, the dream would continue even after we closed our eyes.

Hometown

Castle Rock’s Forgotten History of Speed

Words by Ben Giese | Photography by John Ryan Hebert

Archive images courtesy Castle Rock Historical Society


Cinematography by Jason Leeper & Kasen Schamaun | Soundtrack composed by John Ryan Hebert

 

It’s a hot summer evening in late July, and I’m riding my new bike down the main street that runs through my hometown. It all feels strangely familiar, but it resembles nothing from what I remember. The population is now seven times larger than it was when I was a kid in the ’90s and ’00s. And what used to be a sleepy little suburbia full of cowboys and small-town folk has become a bustling hub of traffic, chain restaurants and department stores. It feels like a parallel universe as I ride through somewhat unfamiliar surroundings, but I can still feel the sense of history and nostalgia that remind me exactly where I am and where I came from.

 

They say that home is where the heart is, and for a lot of us that place is the town in which you grew up. A place of countless childhood memories, and stories of the good and bad experiences that shaped you. It’s where you spent your formative years and found the influences that would carry you through the rest of your life. It’s where you became you. A place that no matter where you go or where you end up, coming back always feels like coming home. I guess that’s why you call it your hometown. And while that town might not seem special to others, it’ll always be special to you.

For me, that place is Castle Rock, Colorado, given its name from the giant rock formation in the middle of town. It’s a beacon that sits somewhere between Denver and Colorado Springs. Before this little town became a not-so-little town, most people would just stop for gas and keep moving, never looking back and never realizing the magic to be found just off the highway. Like the legendary pancakes at the B&B Cafe, where you can still see bullet holes in the ceiling from a shootout in 1946. Or the Castle Cafe across the street, famous for its pan-fried chicken and rough-and-tumble history of nightly brawls and drunken cowboys riding their horses through the bar. 

My childhood in Castle Rock was like a scene out of Stranger Things. My brother and I would spend the summers riding our BMX bikes and building jumps with our neighborhood friends. We would catch frogs and snakes and find dirt piles to climb up and jump off. We would have dirt clod wars and throw rocks at each other until someone got hit in the face and started crying. We would climb the rafters of unfinished construction sites and hang out on the rooftops after dark. We’d scrape our knees and elbows and get stiches and break bones and come home covered in grass stains and dirt and blood. We’d stay up late playing Tony Hawk’s Pro Skater and listen to Green Day’s Dookie and sleep in the back yard under the stars. As we grew older, our bicycles and skateboards were replaced with motorcycles, but that spirit of fun and freedom has always stayed with us. 

I feel lucky to be the last generation to have had an old-fashioned childhood, and to have grown up without cell phones and social media. And I feel lucky to have grown up in a charming little town like Castle Rock. But the history of this town goes far beyond my 33 years – and as I continue my nostalgic ride past all the historic buildings on Wilcox Street, I ponder what happened here before my story began. So I dug a little deeper to learn what shaped the town that shaped me, and to discover where the town I came from, came from.

Castle Rock was founded during the Gold Rush, but those early prospectors never found gold. Instead, the land was rich with rhyolite stone, which provided a valuable economic resource and the building blocks for a new community. Many of the oldest structures in town are made from that original rhyolite stone, and as I continue riding down Wilcox Street I can’t help but imagine the days before this road was paved and horses and buggies were parked out front of these old buildings.

I continue my ride toward the outskirts of town, and my mind is shifting between memories of childhood and visions of an unknown history. Old brick buildings fade into the wide-open landscape as I arrive at a particularly special property just south of town. I think back to the days when my brother, my friends and I would park in a secret location and ride our dirt bikes out here – one of the many illegal riding spots we had scattered around town. Occasionally, we had to run from the cops and hide from local ranchers, but mostly I remember the long summer evenings riding with our friends. I laugh when I think about the jump that sent me so high in the air that the frame on my YZF450 snapped upon landing. We had some great times riding out there, but somehow we had no idea what had happened there before, and how sacred that hillside really was. 

It turns out that the property was once home to a legendary motorsports facility called Continental Divide Raceways. First announced with a groundbreaking ceremony in 1956, the facility never fully materialized, and by 1957 the original company had gone under. In 1958, the unfinished racetrack caught the attention of Denver millionaire Sid Langsam, who would finally bring Continental Divide Raceways to life. CDR became a nationally renowned motorsports mecca in the ’60s, hosting some of the greatest legends in motorsports history. At the height of its success, it was the finest facility of its kind in mid-America and, quite possibly, the entire USA. The facility was designed to host all types of car and motorcycle events, including a 2.8-mile road course, a half-mile oval, a 4,200-foot drag strip and a motocross track.

While the racetrack’s history is relatively unknown to locals today, whispers of Continental Divide Raceways still float in the air, with racers like Mario Andretti claiming CDR to be one of their favorite tracks. Carroll Shelby was another famous personality to race at CDR. Supposedly, it was the location of his final race, and that victory inspired the creation of his iconic Shelby Cobra. The circuit brought a lot of excitement to the small town of Castle Rock; oftentimes you would see celebrities boozing it up at the Castle Café after an event at CDR, like Evel Knievel after he had successfully jumped 11 cars on his Harley-Davidson. There are also stories of legendary battles between motocross heroes like Donnie Hansen, Ricky Johnson and Broc Glover at the pro motocross season finale during the racetrack’s brief resurgence in the early ’80s. The trio would race hard all the way to the finish, marking one of the closest and most exciting finales ever. Hansen won the championship by just 3 points over Johnson, with Glover trailing just another 3 points behind in third.

The circuit was in its prime throughout the late 1960s, until a series of tragic events eventually brought an end to CDR. A crash at the 1969 Denver Post Grand Prix sent a driver spinning out of control at 155 mph, colliding with a row of 55-gallon oil drums. The oil drums went flying in all directions, killing the driver and a nearby mechanic, and injuring several others. The tragic incident weighed heavily on the track owner, Sid Langsam, and soon after he was diagnosed with terminal cancer. Langsam died in 1973, with many attributing his illness to a broken heart over the 1969 crash. The writing was on the wall for Continental Divide Raceways.

Trying my best to take in the countless stories and incredible history of this place, I start up my bike and continue my nostalgic ride around town. I look down at my gas tank and think to myself how funny it is that my newest bike is also my oldest bike: A 1964 Triumph TR6 desert sled built by my friend Hayden Roberts out of Santa Paula, California. This bike was manufactured back in the days when Evel Knievel jumped the fountain at Caesars Palace on his Triumph, and Steve McQueen was still racing Triumphs like this in the California desert. Riding this motorcycle feels like a connection to that time, a relic from a golden era of motorsport, when Continental Divide Raceways was in its prime. I can only imagine what it was like to live in Castle Rock during that time. The population was just under 1,500, yet it hosted one of the premiere racing facilities in the country. I’m sure there was a real sense of pride amongst the local residents to have had such an iconic location in their little town. And I’m sure the races held at CDR must have been great for the town’s economy.

It’s sad that this incredible facility existed only for a brief moment in time. I wonder what it would have been like as a kid to go watch your favorite racers compete at Continental Divide Raceways. The track is now long gone and mostly forgotten, but Castle Rock’s heritage of speed still lives on through people like my brother and I, who grew up chasing thrills and unknowingly embodying this town’s high-octane history. I’ve always loved my town, but learning about this racetrack gives me a newfound perspective on where I come from. It’s easy to take for granted the little things that make your hometown special, but small towns across America have incredible stories to tell – if you’re willing to dig little deeper. 

Transcendence

Searching for the Divine

A film by Dylan Wineland featuring Aaron McClintock


 

Some of the best artists in the world frequently talk about transcendental states of consciousness, and these states often lead them to create some of their finest work. Henry David Thoreau talked about accessing the divine by merely being in nature. But are these states of consciousness limited to just painters, writers, and musicians? 

By definition, Transcendence means to go beyond or above the range of normal human experience. After years and years of talking, philosophizing, and diving so far deep into the question of why we ride, we have found ourselves closer to the answer.

This is a film about stepping into yourself through doing something you love. A direct access into the divine. It is about finding that thing in life that can take you to that intangible place. It is about creating that bridge from artist to athlete, athlete to artist. It requires a relationship between your state of being, and the thing that you love to do. When you are operating at your highest self, it can translate into your craft, and in return, your craft can take you even further towards the divine. But it starts with you. The motorcycle is just a tool to help you get there. That’s why we ride.

 

Holocene

An Ode to All That Lives and Grows

Words by sven signe den hartogh

Photography by Aaron Brimhall & Sheryl Crawford


Presented by REV’IT! | Directed by Ben Giese & sven signe den hartogh | Cinematography by David Chang & Daniel Fickle

 

I have always felt as if our relationship to Earth is more than pragmatic practice, academic understanding or aesthetic appreciation. But strangely, in our culture of rampant consumerism, overabundance, and endless information, there’s an overwhelming pressure to make constant progress and move ourselves forward toward an even greater dissonance from nature. We seem confused about our place in the world, and in the universe. We have paradoxically exchanged the genuine wonderment of our natural environment for illusory feelings of validation and happiness through social status and material possession.

So how do we rediscover the undeniable conviction we feel when faced with the miracle of life? How can we as humans relate to the incomprehensible beauty of the world, of which we are all a part? 

We are inseparably connected with all that lives and grows, and we are each a small expression of a much greater whole. Like waves passing through the sea of existence. It’s crucial that we begin to understand our connection to the natural world, because that realization can help us to discover who we truly are and what we really need. It can open us up to experiencing true love, peaceful harmony and endless wonder.

 
 
 
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Extraordinarily Present

Further Through Fear and Pain with Filson

Words by Thor Drake | Photos by Cole Barash

A film by Brandon Kuzma & Cole Barash


 

Riding motorcycles can be extremely dangerous and demanding, both mentally and physically. Sure, it can also be easy and delightful at times, but those moments inevitably fade the further you cross through physical distances and personal limits. Keep going and eventually you’ll become more acquainted with things like pain and fear, and that’s when the journey really starts to get interesting. All good things come with a price if you’re willing to pay it.

 
 

Four of us would start an expedition somewhere northeast of Seattle, deep in the heart of the Northern Cascades. We planned for six days of riding south on the remote Washington Backcountry Discovery Route, ending at the mighty Columbia River on the Oregon border. Aaron Piazza, an industrial designer by day, had done the ride earlier that summer, so naturally he became the group leader. Piazza roped in his co-worker and friend Ben Mabry to join us on the ride, as well. Completing the group was Brett Simundson, who had just bought a bike only a week before the trip. He’s a tough fella whose ambition would make up for any lack of experience. As for me, I made the trek north from Portland to join in on what was sure to be an unforgettable adventure.

 
 
 
 

The route we chose would skirt us along the east side of the Cascade Divide into one of the last remaining old-growth forests in the United States, with trees over 1,500 years old. The rugged, icy roads kept our minds sharp as we took in the immense majesty of this wild and untamed land. Endless rolling mountains and ancient forests as far as the eye can see. If Bigfoot or Yeti lives, he lives here. 

We planned on its being cold, but we had no idea it was going to snow three out of the six days, sometimes up to six inches. That’s where the pain and fear began to set in. Riding and camping for days on end through rocks, mud, ice and snow creates an entirely new set of challenges – frostbite, hypothermia and the constant thought of bear attacks to name a few, but most of all the exponential risk of crashing. An injury would spell disaster out here in the middle of nowhere. Riding through this region in these conditions is not for the faint of heart, but we came here for the punishment, because the adventures you always remember are the tough ones. 

 
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The idea was to camp most nights, and with average evening temperatures dropping below 15 degrees, building a fire was mandatory to thaw our frozen appendages. Sometimes the mere thought of that flame at the end of the day was the only thing that got us through. It’s interesting when you set some strong-willed folks to a task, and that task is hard travel: The difficulty becomes the reward. There’s a cowboy trust that emerges, because you’re in the struggle together. You’re putting yourself through something that most humans couldn’t manage, and through that suffering you form a bond that can last a lifetime. 

 
 
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Many people wonder why we put ourselves through such torture – the lack of sleep, freezing all day and night, and the twisted sense of joy we get from the imminent danger that lurks around each corner. I guess I just feel really lucky to have these challenging experiences, because they force you to be extraordinarily present in the moment. Existing now, like a shark in a feeding frenzy. Navigating the turbulence at the mercy of the spinning world around you. Those moments create a mental state where life moves in slow motion, leaving the brain free to dance. Some would call it a high, or an altered reality, but it feels far too natural for that. I think of it more like a state of being. 

 
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Sometimes you have to put yourself in harm’s way to get there, but once you get a taste, all you want is more. I’ll always remember this trip with my newfound friends, and I can’t wait for our next opportunity to suffer through more challenges together.

Vegas to Reno

A Two-Stroke Journey into the Soul of the American Desert

Words by Forrest Minchinton | Photography by Monti Smith & Will Luna


 

The haze of dust lingered, like a dense fog. The line of trucks and van headlights stretched as far as the eye could see in the morning twilight, all anxiously waiting to stage and unload their race machines in the dry Nevada desert. There was tech inspection, registration, transponders and each vehicle’s tracking units to chase down. It had all been canceled and/or postponed the day prior. The race, however, was on…maybe. No one really knew. This was only the largest and longest off-road desert race in the United States of America, amidst a global pandemic. All of the prerequisites the day before had been raided and shut down by the Las Vegas PD, like a college frat party after one too many people and a few too many keg stands. A lack of social distancing and too few face masks was the probable cause that ended this party. This is 2020, but someone forgot to forward the memo to the wrench-slinging, race fuel-guzzling thrillseekers that are off-road racers.     

 

A last-minute scramble ensued to drill holes in fenders, mount tracking units and find race officials. Just a few hundred racers at the unpleasant hour of 4 a.m. in the dark Nevada desert. With minutes to spare I mounted my hand-numbing, vibration-station of a race bike – a feeling I had grown to love and become accustomed to over the preceding week. I headed toward my place as the 6th open pro motorcycle at the start line. The deep two-stroke rattle and violent power could be tamed only by the sleight of hand. This was followed by silence, until the racers were sent off one by one, with one-minute intervals of separation. The drone of engines disappeared behind the clouds of dust, wide-open throttles, adrenaline pumping. Fifth place was off the line, my two-stroke fiercely purring, waiting for the light to turn green. Green means go…1st, 2nd, 3rd, click it into 4th and still a gear to spare at 90 mph, blind into the lingering fog of dust. Speed-shift into 5th gear – 95, 98, 105 mph, and still pulling for more. Race mile 1, race mile 2 and then…seize. WTF?!

 
 

It was somewhere around midnight the day before our scheduled departure to the desert. We were on the edge of the Pacific Coast, a 1950s built garage in the heart of Huntington Beach, California. Scratch that – as a matter of fact, it was roughly a week past our original scheduled departure, sans the necessary motorcycle parts, bits and pieces, all of which were back-ordered, likely stuck on a container ship in the big blue Pacific somewhere between Japan and Los Angeles. Sitting in front of us was a half-built 1996 CR500. A chunk of Japanese aluminum and steel from a bygone era. An unconventional desert race machine, lacking not power, nor handling, but at this point parts. A project that most likely would take years to complete, and we had a month. A new fashionable motocross gear company, State of Ethos, had agreed to help cover our costs and chronicle our journey. Bell Helmets covered our entry fees, and the team consisted of myself, Nick Lapaglia, Ciaran Naran and Anthony Rodriguez. Nonconformists to the status quo racer. A desert racer, vintage racing aficionado, amateur motocross phenom turned scholar, and an unemployed Supercross talent. This bunch values a life well ridden as much as they value winning. That money Bell Helmets gave us? Yeah, we spent all of it on fixing our 24-year-old race machine. So, we had an obligation to wring the throttle and try our best to win the longest nonstop off-road race in America, from Vegas to Reno, for good or ill. We just had to do our best to keep our usual haunts around the roulette table and dance clubs short.

 
 

A day late and a dollar short, we all arrived at my desert ranch. The perennial testing grounds for all my ill-conceived ideas and aspirations. The compound is an eclectic culmination of my family’s life, which has always existed beyond the normalcy of southern Californian suburbia. The motorcycle was finished, the team present, all of us excited. There was motorcycle testing to do and high speeds to be experienced. Drawing on my desert racing experience and with the help of Boyko Racing, AHM factory services, and an FMF pipe and silencer, we had a motor built to race and suspension built for comfort. The old Mikuni carburetor tossed out in exchange for Technology Elevated’s Smart Carb, the latest and greatest in carb technology. Boyesen reeds and ignition covers, Thrill Seekers saddle, IMS footpegs and fuel tanks fueling the fun. All rolling on STI off-road rubber and Nitromousse bibs, so as to be 100% flat-proof. The bike was modified by Steecon, Inc., to run 2008 CRF450X forks and 2019 CRF wheels and axles, complemented by updated brakes front and rear. We needed advantages where we could make them, and the package was surprisingly capable. After all we had to conquer 515 miles of Nevada’s roughest desert – high speed and high bumps were on the menu.  

 
 

We were in Johnson Valley on the edge of the desert when the buzz took hold. The 1996 CR500 hummed along, electric start and the modern comforts of 2020 a thing of the past. It was 100 degrees, but the wind on the face and the beautiful zing of a 500cc two-stroke through the open desert kept it cool. She sang at 112 mph. The fastest any of us had every gone in the dirt. At over 100 mph the vibration was intense compared to a modern race machine, but it was purpose built, and we knew it could be successful. The sheer top speed would be as big of an advantage as any in the long, vast racecourse from Vegas to Reno. So fast and raw that it was almost suicidal, and so it earned the name The Kamikaze. We were a special unit, our machine outdated by our competition, but we were unwilling to surrender, and it would be the death of the machine before any of us would ever admit defeat.

 
 

Fast forward to race day, race mile 2, 5:37 a.m., I sat there on the side of the racecourse. The Kamikaze had seized. Compression gone. A five-dollar part had failed, a faulty crank seal. My heart sank. The hours, the days, the weeks, the money scraped together by all involved, the chase crews spread out across the Nevada desert. It was all over, I thought. I grabbed my radio, and we devised a plan. We would take one of the boy’s stock bikes out of the van, slap on our transponder and numbers, and we would finish. It was against the rules, but we have never been very good at those anyway. We would likely be disqualified, but we didn’t mind. At this point, we needed to finish. Regardless of the odds stacked against us, there is always a way. Problem was, I was still 2 miles from the nearest access point to the course. I pushed, I ran, I walked, and I cussed as I struggled to push our race bike the 2 miles through the deep sand to the meet-up point. I arrived winded, and drenched in sweat, but we made quick work of the swap. I hopped onto the replacement bike, at this point an hour and a half down from the last-place bike, but started clicking off miles. The replacement motorcycle was set up for someone nearly a hundred pounds heavier than me, no steering stabilizer or mousse bibs, none of the essentials required to ride a motorcycle 515 miles at race speed. Every bump and rock nearly sending me flying off course. 

 
 

One hundred and forty miles later, I gladly handed the bike off to Anthony, who made quick work and flawlessly clicked off his 100ish mile section. Ciaran took off from pit 6, and the spirits were high. We were down but not out, and the buzz was flowing, and it was, well, fun! Pit 7, Ciaran rolled in sitting sideways but rolling straight with a rear flat. The stock inner tubes had met their maker. We made quick work and ended up pulling tires and mousses off the Kamikaze’s wheels and began swapping out the tires on the Husky 501 replacement bike. Air-filter change, tightening loose spokes, tighten the handguard that was hanging on by a thread, and off we went. Pits 7, 8, 9, 10 were smooth sailing; Nick was now onboard and having as good a time as anyone, as he tends to do. Pit 11, bummed some gas off a friend, pit 12, and finally pit 13. Nick was wide open, oblivious that his rear mousse had failed. It was the final pit and excitement for the crew. Another tire off and on again. Off we went, the final finishers in the Open Pro division. Not quite legal, but still accomplished. Beers were had, smiles, stories and next year’s plans. These are the moments we live for.

No Destinations

6,000 Miles Through Europe

Words & photos by Isaac Sokol


A film by Isaac Sokol

 

When your friend quits his 9-5 and asks you to run away to Europe with him to ride motorcycles, you say yes. No plans, no obligations, no rules, no destinations, just freedom.  As a freelance film director, I’d spent the last several years bouncing around the world from project to project, party to party, thrill to thrill. A few months earlier, I’d come to meet heartbreak for the first time; now left with cancelled plans to relocate to a more permanent residence and “take life more seriously,” I found myself sitting in Colorado, the place I’d called home for the last decade, a place that had my heart, and feeling it was finally time to move on and grow up. I guess I was right in the middle of my quarter-life crisis; I needed either a reset or a last hurrah, and this was the trip for it.    

 
 

After a little research, Nate, my best friend since middle school, found a guy in Tours, France, who made it simple to find bikes. You shop the French version of craigslist, pick one out, wire the money, and our man Laurent takes care of the rest—registration, title, insurance, and pickup; he even gives ‘em a wash before you get there. A few weeks later, we rocked up to his doorstep, half expecting it all to be a scam, and saw our bikes sitting in the driveway.  Laurent was a jovial man with the heart of a hooligan, but the wisdom of a sage, and when it comes to touring around, I’ll trust no one more. We sat down for a beer and a much-needed instant coffee and got some words of advice from a man who’s spent more time on a bike than in a car. He warned of Europe’s excessive number of speed cameras, the exorbitant French tolls, and the tough miles through rain and snow. After a few Easy Rider jokes and a photo for Mom and Dad, he sent us on our way with his best wishes. We hit the road.  

 
 

Most folks who head out for these types of adventures ride a bike that you might say is designed for it. Hell, they’re called adventure bikes. Seven-gallon tanks, big comfy seats, windscreens, and beefy suspension ready for anything that might get thrown your way. If you ask me, that takes all of the fun out of it. We went with Sportster 1200s, certainly not Harley’s most reasonable option for this kind of trip, but they sure do look good. One kink in the hose was the tank size. While Nate’s bike was a mildly reasonable 2.7 gallons, mine was the Forty-Eight, which has a smaller—and if you ask me, better-looking—tank, totaling a whopping 2 gallons. At 40 miles to the gallon, going about 80 miles per hour, we needed to stop for gas every hour on the highways. As you might imagine, I ran out on the side of the road more than a few times. We wised up and got a gas can after the first mishap, but the whole situation added a bit of character to the trip. 

There’s an almost overwhelming sense of freedom that comes from riding a motorcycle, especially when you have nowhere to be and everything you need strapped to the sissy. Tents, rain gear, a change of clothes, a camera or two, and a toothbrush. You can go almost anywhere, bend nearly every rule, and never worry about being fucked with.  There’s a brotherhood that comes along with it, too. You help each other, look out for each other, and this quickly proved itself true on the very first leg of the trip. With our navigation set toward the southwestern coast of France for Wheels and Waves, we took off, going the scenic route, of course, through the Spanish Pyrenees. 

 
 

It didn’t take more than a few hundred miles before something went wrong. Little black pellets sprayed off the back of Nate’s bike, the teeth in his belt stripped off. We pulled off to the side of the road, and before we even had time figure out what to do, a van pulled over, and a man started to ask us something in French. Now, at the time, our French covered three phrases: bonjour, bonsoir, and parlez-vous anglais?, but the man’s English wasn’t much better.  After a few hand gestures and a whole mess of assumptions, we were loading the broken-down bike into the man’s van. Thanks to the language barrier, we never got his name, but Nate and I decided for the sake of retelling the story to call him by the most French name we could think of: Jean-Francois was taking us to a motorcycle shop in the closest town. Luckily, the owner there spoke more English than Jean-Francois and was able to straighten everything out. We got the bike on a tow truck and off to the nearest shop with the right parts, which just so happened to be next to our first stop, Biarritz. We dropped Nate’s bike in the shop and rolled into town for Wheels and Waves, two up on mine, bags and all. What for much of the summer is a ritzy vacation destination, Biarritz transforms for one weekend each year into the Wild West for bike folk. Thousands take over the quaint little town and turn it into a lawless playground. People line the streets for drag races, crowds gather for burnouts, and riders rip wheelies down the main strip all night long. Needless to say, we’ll be making our way back again, hopefully every year.

 
 

As soon as Nate’s bike was fixed, I started to have some trouble with mine. The clutch was gone. After a good amount of forcing things that shouldn’t be forced, I was able to get it over to a van rental, load it up, and drive it over to a little custom shop in Toulouse, France, called Dirty Seven, where we met Gael Canonne. Turns out motorcycle mechanics get pretty backed up in the summer, so we pulled up to the shop with a couple of Leffe twelvers and a broken bike. After a couple of cold ones with the guys in the shop and stories of our grand plans, Gael said he’d find a way to make it happen. Even with the help, we lost a couple of weeks to the breakdowns, but with both bikes straightened out and running better than when we had bought them, we made our way north. We had a loose itinerary based on where we had friends to crash with and where we could set up tents. Scotland is more or less one giant campground full of what I’d argue to be the most beautiful landscapes the world has to offer, so we made for that general direction. We stopped off in Paris and London for a few nights, catching up with a few old friends and some family, crashing on couches and floors after indulging in a bit of city life. 

 
 
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Along the way to Scotland, we came to the first road on the list. Now, when I say list, I mean an actual list Nate kept in his pocket; he spent weeks scouring the internet for the best roads Europe had to offer with notes on every detail – what the corners were like, how fast you could take it, how the pavement handled, and even where the speed cameras were. The first we came across was the famous Cat and Fiddle Run in Northern England, and that puppy did not disappoint. After staying at a nice bed and breakfast, run by the sweetest old couple you’d ever want to meet, we strapped up the bikes before sunrise and hit the run. I’d be lying if I told you we went straight on from there. The road proved to be too much fun. We ran a few laps through it until breakfast was served back at the B&B. As much as I love French food, boy, did I miss a real, hearty breakfast. We sat down to a proper English breakfast, filled up the bikes and hit the road again.  

 
 

We continued north with our eyes set on the Isle of Skye. I can’t say I did a lick of research, but I had begun to romanticize the place in my head. It sounded almost magic – a desolate isle off the northern tip of Scotland. I didn’t know what to expect, but as we made our way up, nothing disappointed. So much of Scotland’s beauty comes from all the rain they get, but we lucked out; as we gassed up the bikes, I overheard an old Scotsman talking with the station attendant, “It’s got to be the most beautiful weekend I’ve seen in the last 50 years round these parts!”  

 
 

Eventually we hit the next road on the list – the A82. It was spectacular. Fast and empty. Long, smooth curves all the way up past sprawling lochs and green mountains. Miles flew by without seeing another car on some of the best tarmac I’ve ever come across. We crossed the bridge into Skye, and the sun began to set. As we rolled into the West Point, we came across a small shop; inside, we found some cured meat and cheese, crackers, smoked fish, and a bottle of Scotch: the essentials for a night of camping. Having no idea where we were, we asked the shop owner if there was somewhere nice for us to set up a tent for the night. She directed us to the West Point Lighthouse. After a night of celebration and maybe a bit too much Scotch, we woke up before the sun to explore. When you’re in possibly the most beautiful place in the world, there is no amount of Scotch that excuses missing a sunrise; plus, keeping with the theme of doing whatever the fuck we pleased, we could nap the boring light away. Over the next few days, we covered a nice chunk of the island, camping and cruising the empty roads of Skye. 

 
 

From Skye, we made our way south to catch the ferry over to Belfast. We danced in and out of the famed Wild Atlantic Way, a coastal road that takes you a couple of thousand miles through every nook and cranny of the Irish coast. As we passed into Ireland, where the speed limits on the windblown, wet, salty coastal roads felt more like a dare than any sort of regulation, it’s no wonder so many Superbike champions hail from that place. We raced down toward the southwestern town of Lahinch to meet up with a friend I’d met on a surf trip a few years earlier, Clem. The man might as well be the ambassador of Ireland, a uniquely generous human being with a heart of gold. After just a few texts in the weeks leading up to our arrival, he dropped everything to show us a good time, insisting that we stay as long as we pleased. We spent a couple of days off the bikes—which felt weird at that point—to enjoy the local pub and some sights, and, as luck would have it, a rare summer swell. We paddled out and got a few waves with Clem and a couple of the local boys at their secret spot all to ourselves. Oh, and breakfast rolls, an entire Irish breakfast on a baguette. I still dream about it.

 
 

At this point, a bit of reality set in as we realized we were running low on time before we had to get back to real life. As much as we wanted to keep it rolling, you can only put off responsibility for so long. We had a choice – either take a leisurely ride back to France to drop the bikes, or hammer down and cross off the true prize of the trip, one of the world’s greatest roads, Furka Pass.  There was never really a question, so we made our way toward the Alps. The next five days were a blur, smashing down highways for as long as our bodies could take the wind beating us down. We made it across Ireland, over to Wales, through southern England, over to France, into Belgium, and through southwest Germany until we hit Switzerland, but fucking-A, was it worth it.

Somehow, we found ourselves a bit ahead of schedule, and I thought, for the joke and the story, it was worth dropping into Italy just for a bowl of pasta. It added about 6 hours in the saddle, but now I get to write this sentence. 

 
 

A storm brewed as we passed through the Alps from Italy back into France. Rushing to catch our flight, we knew we had no choice but to ride through it. As the rain fell, a fog rolled in so thick you could swim in it. You reach a critical mass of not giving a damn when it comes to riding in the wet. At some point you can’t soak up any more water; like a sponge in a pool, you’re as wet as you can be, and you might as well keep going. Atop the peak, a bitter cold settled in. A cold that cuts through everything you have. A cold you can only find in the mountains, where the rain drops like needles poking at your hands as your knuckles turn white, gripping the bars for dear life. The rain finally gave in and turned to snow. As we descended, the snow turned back to rain, but it picked up, and the road began to feel more like a river. Downshifting to save my life, the backfire of the V-twin echoed off the cliff walls as I hugged the corners. You can’t help laughing at it; something about the misery makes for the best days of the trip. Maybe because it makes for a good story, or maybe because you feel you’ve earned the sunny days. Regardless, each time I pulled up next to Nate, we were both smiling ear to ear. We had found a proper ending to our story. 

 

Sitting in the helmet gives you a lot of time to think—maybe too much if you’ve got things you don’t much like remembering. I thought maybe all that time might help rid me of that heartbreak, but what I came to realize was that the old cliché rang true: Time is the best medicine for that. What I did find out from all that fucking about was: Why the hell would I want to put an end to it? The trip opened me up to the world of motorcycle touring and showed me what I’d say is the best way to see the world. It reminded me that this is exactly what I want to be doing. I ended up making the move to New York a few months after we got back home. It was time to make the smart choice for my career. But the freedom that you can only find on a bike showed me that I didn’t need to hold onto Colorado ­— that an adventure is always out there waiting if you’re willing to go take it.

Wesley Schultz

On Motorcycles and Music

Words by Dale Spangler | Photos by Ryan Handt


A film by Jean Pierre Kathoefer

 

Like many of us obsessed with two-wheels, Wesley Schultz got his first bike at a young age. As he describes it, it was one of those Dumb and Dumber minibikes where two people can fit on the seat if needed. 

 

“I had a neighbor who was a mechanic,” recalls Schultz. “And one time he came over and took it apart and put it back together and made sure that the governor wasn’t working on it anymore. You could haul ass on that thing!” Not long after, when he was 11 years old, Schultz got his first dirt bike, a Honda XR80 that his dad bought for him. He learned to ride in the woods near his home in Ramsey, New Jersey, located in the northeast part of the state close to the New York border, and near the Catskill Mountains and Hudson River Valley. “I created a little dirt track in these protected woods nearby,” remembers Schultz. “I raked out a path from a walking path that was already there, created a jump, and a couple of friends and I would go out there and ride laps and see how fast we could go and how high we could get.”

Like most kids that age, his riding often involved a bit of mischief. “I remember calling my friend and saying, ‘Look out your window in 10 minutes.’ I was way across town, so I took the dirt bike on all these side streets, made it all the way there, rode by him and gave him the finger, kept going, and then got home and called him again on my landline and said, ‘Did you see me?’” Schultz has many fond memories of his childhood in New Jersey, riding bicycles and motorcycles, for which he is grateful. “I wasn’t very good at it, but I loved doing it,” says Schultz. “I remember riding dirt bikes and getting in these little accidents, falling on the dirt and wet leaves and things like that. Whereas concrete is not nearly as forgiving. I feel like just having an awareness of how fast things can happen, I think that that’s a really great way to learn. You take a little fall, so you don’t take a big fall.”

 

Fast forward to the present, and despite his success as a musician, Wesley Schultz is a man who still loves riding motorcycles. As the frontman of the band The Lumineers, he helped the band gain worldwide recognition and a massive following with his instantly recognizable, raspy-yet-soothing voice, honest and heartfelt lyrics and songwriting, and incredible musicianship. Add to that the other band members’ musical abilities, catchy melodies, infectious live energy, and a refreshingly raw sound, and the result is nearly 11 million monthly Spotify followers, with a combined 1.5 billion listens to its top five songs. They are a magical combination of extremely talented artists who put in the hard work and paid their dues by grinding it out on the live music circuit until they achieved success with their breakout 2012 self-titled album, The Lumineers.

With the Lumineers based in Colorado, Schultz spends most of his time in the Denver area, but he still tries to visit where he grew up and the Catskills as often as he can. To Schultz, the area has a special allure, and for many music fans and musicians, the area is hallowed ground—with the likes of Jimi Hendrix, Van Morrison, Bob Dylan, David Bowie, Janis Joplin, and other well-known musicians having lived and recorded in the area at one time or another. Schultz is also drawn to the Catskills because of the well-maintained, scenic, and twisty roads that are perfect for motorcycle riding.

Spending time in both Colorado and the Catskills throughout the year, Schultz believes that in their own ways, both places play a big part in his life. “I grew up about two hours south of where I’m at now, in the Catskills. This whole region just feels like home,” explains Schultz. “When we came out to make our second record, Cleopatra, we were about to record in Colorado. We were going to do a 1970s move and turn a barn into a studio. Then the guy renting us the barn found out who we were and tripled the price, and we were like, what?” With the band scheduled to record in three weeks, Schultz called upon his friend Simone Felice (of the band The Felice Brothers) to help them find a studio to record in. Felice, who’s from the Catskills, lined up a studio called The Clubhouse in Rhinebeck, New York, where bands like The National and others have recorded.

“So, it was sort of by happenstance that we came back out here,” recalls Schultz. “And when we got here, I started to realize there was this power to the area. It’s like a vortex. Something happened. It’s like what I’ve heard about Taos, New Mexico, but it happened here. All these people in the past, Van Morrison and Bob Dylan… I mean, Jimi Hendrix used to plug in his amp and play on his deck, and it bounced off the mountains. He loved that sound, and the neighbors never complained. So many iconic artists came up here and called this home for a while. It’s got a power to it that’s kind of hard to describe, other than to say it’s an energy that stirs something in you.”

After that fateful trip to the Catskills to record the album Cleopatra, the energy Schultz initially felt began to carry over into his motorcycle riding in the area. It’s something that has become a significant part of his songwriting and musical process. “I’ve been riding around on motorcycles a lot through this area for the last five years when I’m here, which is a lot, and I use it as a jumping-off point for lyrical ideas, and sometimes even melodies,” explains Schultz. “On Cleopatra, the song ‘Angela’ wasn’t even going to be on the album, and it became this defining song for the album. It wasn’t written yet. And then we started writing it while riding motorcycles. We were on bikes, Simone and I, just riding around, and we would stop randomly, and over the sound of the engines, we would shout lyrics. Sort of sing-shouting the lyrics, loud enough to hear, the verses of ‘Angela.’” On another occasion, he recalls riding at night on an eerie winding and narrow road, and coming upon a bank of fog. Fog he describes as the type that feels like one is riding through a ghost house. And that’s when the last verse of the song “Angela” came to him. 

And it keeps happening.

The Lumineers are currently in the process of writing a new record. Schultz feels like the best song on the album doesn’t even have a name yet, but it’s a song he thinks can be a foundational track. A track that Schultz wrote the majority of the lyrics for while out riding. Not that riding motorcycles is the end-all for how he writes music. But he does believe the two go hand in hand. “It’s not necessarily that I get on the bike and say I’m going to write lyrics today,” Schultz points out. “It’s more like it just sometimes happens. I think part of it is where you ride. I’m riding on backcountry roads that I know really well now after five years, so I’m not thinking about where I’m going. I plot out a big loop, and then I do that loop.” Back in Denver, Schultz used to ride back and forth to the band’s studio. But he didn’t enjoy riding in the city, with all of its traffic and people who don’t always see motorcyclists the same way they do cars. It’s not that he worried about rider error; he was concerned about getting hit. So, Schultz sticks to mountain and backcountry roads when he’s in Denver, because he finds it much more relaxing and enjoyable.

As it turns out, splitting his time between Denver and the Catskills is a perfect way for Schultz to keep himself motivated and focused on his music. He draws parallels between the two places. After moving to Denver eleven years ago, he realized the Rocky Mountains define the area in much the same way the Catskills define southeastern New York. “The Rockies are a young mountain range, they’re adolescents. They’re angry; they look aggressive. The Catskill mountains are old, and they’re wise, they’re smoothed over. There’s wisdom in those mountains,” opines Schultz. He senses a similar power and energy in the Colorado Rockies to what he feels when in the Catskills. “I go back home to Denver, and it’s like, ‘that’s my journey.’ I grew up around here [Catskills], but I wanted to go somewhere on my own. It wasn’t necessary, but I found it to be just such an incredible place.”

Like the rest of the world, life changed significantly for Wesley Schultz due to COVID-19. Bands are no longer touring. Music venues remain closed. Instead of dwelling on it, Schultz tries to take things in stride, not look too far ahead, enjoy spending time with his family, live in the moment and be present instead of always looking ahead to the future. “I’m just trying to write as much as I can, but I’ve also never had this time with my family. It’s like that Michael Jordan documentary, The Last Dance. The thing about Michael that they bring up is how present he was. He had this ability to be present … He wouldn’t get too far ahead of himself, and he wouldn’t live in the past, either. It’s a good example to remember.”

When asked if he thinks it will be an incredibly special moment when he and his bandmates finally get to play live shows again, Schultz’s reply is an emphatic yes. He believes it will be a celebration for everybody because “people can only stream so many shows online.” For him, it’s about the feeling one gets when they’re there. Live and in person. “Music can be that way for me, for [all] people,” says Schultz. “We’re getting together, having someone say something on a microphone, sing something. The communal aspect of it is healing, it’s cathartic, and you can’t get that by virtually being there. We’ve evolved to be social creatures, so when live shows come back, there’s going to be a renewed appreciation for the fact that we can all do that together. I think people are going to be more emotional than ever because we couldn’t do that for a little while, and we figured out how important it was to us.”

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Even though Wesley Shultz and The Lumineers are unable to play in front of a live audience right now, he believes the adrenaline and everything else that goes along with playing live music has to go somewhere. It doesn’t just go away. Instead, he believes that energy gets redirected toward something else. Triumph Motorcycles recently presented Schultz with a 1200 XC Scrambler, complete with custom paint. The bike gave him a renewed reason to get out and ride motorcycles in the Catskills—a perfect way to redirect his energy. “I didn’t see the bike before it was unveiled in person. I had a discussion with Triumph and with the artist Daar, who did the custom paint,” describes Schultz. “And then they made this thing that’s just so perfect, and I’m super grateful because I love riding. I’ve been riding anytime it’s a clear day. It’s become a catalyst for coming up with lyrics and melodies. You feel like you have this hit of dopamine, but you have to be ready to react quickly. You can’t be on your phone. You can’t be anywhere else in your mind.”

Season of the Sun

One Last Farewell to Summer

Words by Ben Giese | Photos by Alex Strohl


Directed by Alex Strohl | Produced by Ben Giese | Cinematography by Caleb Stastko | Edited by InMist Media House

 

First you feel it in the air. Winter is coming like it always does. The season of sun and fiery love is at its bitter end. I fill my lungs in the brisk Montana afternoon and exhale a sigh of relief. I just landed in the small resort town of Whitefish, and as I relax at the edge of the river, I notice that a few of the nearby peaks received a dusting of snow last night. It’s still green down here, but soon these leaves will fade to a color rare as gold, and the days will begin to grow a bit darker and colder. Within a matter of weeks, the Flathead Valley will be painted white and our motorcycles will be exiled into hibernation. I’m here to meet up with photographer Alex Strohl – we’ve been chatting about a two-wheeled adventure for several months now, and this might be our last chance to make it happen before the snow. It would be the last big ride of the season. One final night under the stars. One last farewell to summer.

 

Photo by Isaac Johnston

Alex Strohl is a Madrid-born French photographer who now resides in Whitefish with his life partner, Andrea Dabene. They call Montana home, but Alex spends the majority of his time on the road, traveling to some of the most remote corners of the globe capturing beautiful images of the people, places and moments that unfold before him. His photography seems to exist on a higher level, one unattainable by most mortals. So, it comes as no surprise that his client list includes some of the largest brands and most prestigious publications on the planet. His work has also gained notoriety from millions of fans and aspiring photographers across the world, and Alex enjoys giving back to that community through workshops offered by his company, Wildist.

Alex picked me up by the river, and we drove up the mountain for an evening at the incredible home that he and Andrea recently designed and built. Andrea welcomed me inside, and Alex proceeded to give me a tour of the place, which was recently featured by Dwell Magazine. Alex and Andrea prepared a beautiful dinner for us, and as we sat around telling stories I pondered how one rises to such levels of success. We ate cheese and drank wine, and as I got to know Alex a bit better, the answer to my question became more clear. Whether it’s the process of designing and building this extraordinary home, a love of certain vintage cars and motorcycles, a passion for travel and geography, a taste for single-origin coffees or a surprisingly intricate knowledge of olive oil – when Alex finds an interest in something, he goes all in. He’s a man of obsession and curiosity. And it shows in his work. He tells me that even when he doesn’t have a camera, he’s taking pictures in his mind. It’s just how he sees the world. And I think that’s what it takes to be great at something the way Alex is. It’s why his photography is in such high demand. It’s just the way he lives his life. Always on the move. Chasing the next adventure and the next location. The next beautiful moment to capture.

 

The following morning, we said farewell to civilization and headed out into the forest to meet up with a few of Alex’s friends who would be joining us on the ride. The ragtag crew consisted of Isaac Johnston, Theron Humphrey and Eli Clark. Friends and photographers from different walks of life who all share a love of vintage motorcycles and the great outdoors. Local filmmaker Caleb Stasko joined in, as well, to help document the journey. Caleb and I stood back and observed as the boys unloaded bikes and exchanged high fives and hugs. It was obvious that this group knew each other well. Likeminded souls with an intimate bond that could only be found through years of shared experiences. Alex tells me that these guys try to meet up for these rides several times each year, and it’s something they always look forward to.

 
 

Alex mapped out a route that would take us 60 miles through some dusty dirt roads and singletrack up to a scenic camping spot near the Canadian border. So, we mixed some gas, kickstarted the old two-strokes and hit the trail in a cloud of blue smoke. It felt good to finally be on the bikes with the wind and dust in our faces, soaking up the last of that seductive summer sun. We enjoyed this moment of bliss for a few miles until Alex’s Husqvarna broke down and skidded to a stop. We’ve got a long way to go still, but nobody seemed too concerned. These kinds of issues are just part of the adventure, and part of the challenge that comes with riding these vintage machines. Isaac busted out some tools and spent a half hour or so investigating the problem, and when we finally hit the road again, Isaac’s Yamaha started acting up. Alex and Isaac had just bought these bikes before the trip, and this was their first ride on each of them. I guess you can expect a motorcycle to acquire a few gremlins over the course of 40 years, but it surely wasn’t going to keep us from reaching our destination.

 
 

Back on the road, we started gaining elevation, and the rocks and holes seemed to be getting rougher with each mile. The bikes were showing their age, but the humans were all smiles. Eventually we turned off the road and onto a steep stretch of winding singletrack that took us deeper into the pines and farther up the mountain, until we reached Cyclone Peak, an old fire tower with a spectacular 360-degree view of the Whitefish Range. This felt like a great place to chill for a bit and take in the expansive beauty of Big Sky Country. 

We sat around throwing rocks and laughing like little kids as Alex climbed up the fire tower to snap some photos. He decided to shoot the entire trip on a film camera. He tells me that shooting on film helps him to be more present in the moment and not think so much about the photography – a beautiful perspective that I wish more people would embrace. I’m getting the sense that there’s a deeper, more unspoken significance to these rides, too. It’s like these guys are living proof that you don’t need expensive equipment to have a good time. Old bikes and analog cameras are enough.

 
 

Eli points down to a distant spot in the valley and tells me about the Polebridge Mercantile, a bakery famous for their huckleberry bear claws. Some baked goods sounded pretty amazing after eating dust all afternoon. Isaac revealed his insatiable sweet tooth and urged us to gear up and blaze a trail back down the mountain before the bakery closed. So, we continued onward down more singletrack and winding dirt roads, stopping occasionally to snap some photos. There was no real schedule and no real plans. That’s how Alex likes to work. Capturing the moments as they really happen. Nothing forced. I think that mindset brings a lot of authenticity to his work, and with each new image you know there’s going to be a story to tell.

We reached the bakery just in time, and what a marvelous and memorable place it was. A rustic paradise at the end of a long and dusty road. A living piece of history hidden deep in the wilderness. An oasis for the weary traveler, where fresh-baked breads and heavenly cinnamon rolls await. The Polebridge Mercantile was originally established in 1914 and has served as a remote general store, bakery and base camp for over 100 years. It feels like stepping back in time, as I imagine this place hasn’t changed much over the years. Some refer to it as “North Fork’s Last Best Outpost,” and many consider it to be an essential stop when visiting the western side of Glacier National Park. It’s not easy to get here, but like all good things, the journey is part of the reward. 

 
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We feasted on a variety of bear claws and pastries, and Isaac ate a few extra for safe measure. I didn’t want to leave, but we still had another 15 miles to travel before dark, so with full bellies and a satisfied sweet tooth, we got back on the bikes. The sun was getting low, and we spent the next couple of miles riding through heavenly beams of golden dust shining through the trees. As we climbed higher and higher, the landscape opened up and the sky began to fade into a delicate shade of pink. A truly sublime moment with my new friends. 

The sun faded away behind a distant peak as we arrived at our camp spot near Hornet Lookout. Wildfires charred this region back in 2003, but now it flourishes with grass and wildflowers, and the lack of trees now offers breathtaking views of the surrounding terrain. Isaac and I sat on our bikes and admired the afterglow as he told me about a recent trip he took up here with his family. Meanwhile, Alex was snapping some photos of the sunset, and Theron pulled out his chainsaw to cut up a downed tree. Eli built us a fire, and we spent the next few hours reminiscing on an amazing afternoon. Endless smiles around the glow of our last summer flame. No chairs or tents, just our motorcycles and the stars.

 
 

Winter’s cold breath whispered upon our camp and the frigid mountain air summoned us to bundle up in our sleeping bags. The temperature would end up dropping well below freezing that night, yet another reminder of summer’s cruel demise. I zipped myself up tight so that only my eyes were exposed, and as I looked up at the stars, I contemplated what a paradox Alex Strohl is. He’s got this cozy life at home and clearly enjoys the finer things, but he finds the most comfort out here sleeping in the dirt. He’s obsessed with the details, but not when it comes to making plans. He’s very particular about most things, especially food, but he’s thrilled to sit here and eat MREs around the campfire. And while his photography has risen to incredible levels of fame, he somehow remains completely grounded. He’s a fascinating human with a solid head on his shoulders. I’m thankful for this opportunity to share an adventure with him and his friends.

 

After a long and cold night, the moon gave way to the rising sun, and we geared up for a frosty ride back down the mountain. I could already see a change in the leaves from the previous night, and it was obviously time for us to let go and say our goodbyes. To the trees and the dusty trails. To our bikes and the adventures they bring. To each other and to summer. One last farewell.

Cole Seely

Free the Wyvern Souls

A film by Will Luna


Directed by Will Luna | Cinematography by Mason Prendergast & Griffin Denbesten | BTS Photos by Connor Reilly, Will Luna & Mason Prendergast | Music by Louis the Child

The sun is out and it’s a beautiful day at Wyvern Ranch. This location holds a special place in my heart as one of my favorite riding spots & old stomping grounds. I’ve had this video concept in mind for a while now, and I've always wanted to shoot it here at the ranch with Cole. We have been buddies since our early teens, growing up racing and riding together all over the U.S. It’s always fun to shoot with him and so inspiring to watch him ride a motorcycle. His talent and skills are endless. We have had some insane memories together over the years and this project is just another page in our book of good times.

Redux

An Old Machine, Reborn

A film by Ot Boqué featuring Stefan Lantschner | Photos by Héctor Saura


‘REDUX’ not only symbolizes the rebirth of a motorcycle, but the state of mind of a person living in difficult times.

The first time that Stefan Lantschner saw a cafe racer was on a BMX road trip in Austin, Texas ten years ago. “I have always been into motorcycles, but this one stood out to me.” Taking a lot of inspiration from his BMX riding, which has always been smooth and stylish, he found a new creative outlet to express himself. “I think that a cafe racer is very similar to a BMX bike: it’s as minimal and simple as it can be, but still allows you to show your personality in every detail.”

For Stefan, a bike has to look good but also be functional. “I see builds that look insane, but you can tell that they were just made for a showroom.” That is not his approach when it comes to building. “My bikes are built to be ridden. I don‘t waste my time just to look at them afterward. I want to ride them and pop wheelies!”

Like it has been for many others, being locked down at home wasn’t easy for director Ot Boqué. “I couldn’t be productive and I had no ambitions. It kind of felt like a personal crisis, but I was aware that I had to get out of that hole.” So he started thinking, writing, and conceptualizing this project.

As soon as the Spanish government lifted mobility restrictions, Ot and Stefan began shooting and it helped Ot get back to the place he was before the pandemic. “Seeing how Stefan worked on his old bikes, simplifying something very complex and giving it a new life, motivated me to move forward.”

An old machine, reborn to last forever.

The Wheeler Dairy Killings

Legend of the Capra Monster

Words by Chris Nelson | Illustrations by Dylan Fowler


Directed by Ben Giese & Chris Nelson | Cinematography by David Chang & Daniel Fickle | Edit by Daniel Fickle

 

The boy searched his father’s eyes for a familiar anything but found nothing, and he strained to remember the eyes he had seen and known that same morning, but he remembered nothing. The man sat in an unblinking daze as his eyes followed the cold bottle of beer spinning on the lazy Susan, set just off-center and sweating in the summer midnight, and as the dad reached for the bottle, the boy studied the scars on his father’s hands. The boy remembered the stories that his dad had told about how he had gotten them, and he realized those were probably lies, too. 

The next morning the police would pull the bodies of his three friends from the mangled wreckage of Pete Norman’s Mustang, and they’d say it was a drunk-driving crash, and no one would question it as the truth. The town would weep at candlelit vigils, and the local newspapers would publish tragic stories about the teenage lives lost too young, but the boy would know the truth: His best friend and the girl he loved were torn to pieces by a campfire ghost story, and he lied because he was told to do so.

The boy caught his reflection in the kitchen window but didn’t recognize himself, with two black eyes, a broken nose, and a blood-soaked bandage wrapped around his neck. The sight turned his stomach to knots, and when he closed his eyes, he saw her and the flayed skin on her bloody face, and he saw the eerily human eyes of the godless creature that had killed her.

 
 
 

The boy started to cry, and his father slammed his beer bottle against the table and stood up, and then he stumbled into the living room, clicked on the television, and spun the top from a crystal whiskey bottle. The boy trembled as he asked, “What are you going to tell Mom?” and his father sighed, turned off the television, and walked back into the kitchen. The man took a long, slow pull of whiskey before he crouched down next to his boy, who cowered as his father tried to caress his face. The man spoke in softly slurred whispers:

“Don’t worry about your mom, because she knows nothing about it, and she never will. All these years I lied to her because it was my duty to my country, and you’ll lie to her because it’s your duty, too. I was a kid like you when this all started, and I was naïve and didn’t know what I was getting myself into, and I regret so much, and I committed evils that cannot be forgiven, but I never had a choice, and now neither do you. What you saw can’t be unseen, and you shouldn’t be alive, but you are because I love you, and I would give anything for you. 

“If you don’t trust me, I understand that, but listen to what I’m saying and know it’s the truth. My son, I so badly wish none of this had happened, and that you had gone with your mother and sister and me to the lake, and we had watched the fireworks like we always do. Your mother and your sister will be home soon, and we’ll tell them the stories we have to, and they’ll tell you how much they love you. I promise that they’d thank you for doing what you’re doing, but you can never say anything to them or anyone else, Billy. Everything will be OK, I swear it to you, but you can never say anything about what happened tonight. Do you understand me, son?”

It was July 4, 1992, but the morning hadn’t started like every other Fourth of July morning before it, because 18-year-old Billy Wick stayed home from the annual family trip to Lake Pueblo so he could ride dirt bikes with his best friend Kyle Morgan, who was moving away from their small mountain town in Colorado to start summer school classes at Brown University. When Billy asked his dad for permission to stay back, the old man smiled and said, “Your mother will shit a brick, but if you promise that you won’t have a party at the house or go looking for trouble, we’re good.”

Billy’s friends always said how lucky he was to have a dad like his, and Billy knew it. Every morning Billy’s dad rode to the military base on a Panhead chopper that he built when he was about Billy’s age and had returned home from Vietnam, and every night when he came home he danced with Billy’s mom in the kitchen as she finished cooking dinner. His dad had dozens of tattoos, all faded beyond recognition, and he wore his long, brown hair in a tight bun on the back of his head and refused to cut it, no matter what his superior officers said.

Billy loved and admired his dad more than anyone, because his dad was the smartest, funniest, most caring human he had ever met, and he was nothing like the other military dads that Billy knew. He taught Billy how to ride motorcycles, do yoga, and shoot guns, and once a week he read to Billy and his little sister from any book they chose, from speeches by Malcolm X to step-by-step instructions from a Clymer manual.

Billy stood in the driveway and waved goodbye to his family as the Wicks’ Buick Roadmaster backed into the street, and Billy’s dad rolled down his window and hollered, “Be good!” When the wagon disappeared from view, Billy ran back inside, pulled on his riding boots, and stole four bottles of beer from the fridge, and he wrapped them in a T-shirt and shoved them into his backpack along with a water bottle full of fuel, some fireworks, and a small bag of crab weed that he’d found on the floor at Pete Norman’s graduation party.  

Billy opened the garage door and threw a leg over his Yamaha DT-1, and then a brand-new, 5.0-liter Mustang convertible—white over cream with a white top, exactly like the one from Vanilla Ice’s music video—stopped at the foot of his driveway. Pete Norman revved the piss out of the V-8 and turned his bleached-blond head toward Billy and said, “Don’t you know motorcycles are for douchebags?” The car was a graduation gift from Pete Norman’s dad, who owned a local Ford dealership, and there were still flecks of paint on the windshield where his parents had written, “Congratulations, Class of ’92!” 

Billy hated Pete, and the car didn’t much impress him, either, but it bothered Billy greatly that both Pete and the car seemed to impress Caitlin Newman, the perfect girl next door who had moved in six years ago and spent every day with Billy and Kyle until high school started; she snared the attention of the senior boys, and it changed everything. Billy always wanted Caitlin, but the only interest she ever showed in Billy was when she kissed him at Pete’s graduation party, but the morning after she woke up next to Pete, and the two had been inseparable since. “Why aren’t you on your way to the lake?” Caitlin asked as she opened the passenger door. Billy dropped his weight onto the Yamaha’s kickstarter and said, “I’m going to be late to see Kyle,” and tore off across the Newmans’ front lawn.

When Billy arrived at the trailhead, Kyle was sitting next to his bike, smoking a cigarette and writing in his pocket notebook, blissfully unaware of how long he’d been waiting. He was overjoyed to see his friend, and even more so when Billy proudly showed off the beers that he had stolen, and Kyle suggested that they toast to their ride, so they did and chugged two beers.

In a haze of blue smoke, the boys rode wild and free along the only trails that either of them had ever known. They raced at full throttle through the trees and skinny-dipped in the creek, and they battled with bottle rockets and roman candles, and in the shadow of the other they rode deeper into the prairielands.

They stopped when they reached the rusty, overgrown school buses parked at the far edge of the old Wheeler Dairy, because their fuel tanks were dry, and a few miles down the road there was a gas station. They stripped off their sweat-heavy gear and sat in the grass, and they cracked their warm beers and watched the colors of evening burn orange. Kyle looked across the pasture at the dairy and said, “How the hell can anyone believe a killer military monster lives in that shithole?” and Billy laughed.

He remembered when his dad first told him about the Capra Man, an eight-foot-tall, half-man, half-goat hybrid that lived beneath the dairy. Billy was nine years old when he woke up in bed and saw his old man standing over him, swaying like a buoy in the swell. His dad pulled back the sheets and said to get up and join him in the garage, and the boy sat on his father’s workbench while his father paced from wall to wall and told his son about Adam Ryans, who in 1923 bought the dairy and spent millions of dollars in renovations, but only three years later he went belly up after his prize bull was found dead with a knot of barbed wire in its stomach.

A few years later, Ryans had mysteriously died during a trip overseas, and rumors spread that he was a secret agent for the Office of Strategic Services, which became the Central Intelligence Agency, and that beneath the Wheeler Dairy he had built a secret laboratory where he was creating super soldiers by splicing animal genomes into human DNA. He said the experiment went awry, and Ryans destroyed three of the four super soldiers that he had created, but the last humanoid escaped.

After that night, Billy always knew when his father had had too much to drink, because he spouted off other sci-fi theories about the dairy, like that there were teleportation devices hidden under the milking machines, or there were state-of-the-art workshops building highly classified, covert spy planes, or that there were snipers in the hills who shot rock salt at trespassers. Billy indulged his father’s occasional binge drinking and his vibrant paranoia, but Billy knew the Capra Man wasn’t real, because the summer before high school he had snuck into the dairy’s two-story milk house with Caitlin and Kyle, and they saw no military men or mad scientists or monsters.

A twig snapped in the trees behind Billy and Kyle, and then the bushes rustled and something growled deep and low and fierce. The boys jumped to their feet, and Kyle held his bottle by the neck and shattered the bottom half against one of the buses just as Caitlin poked her head out from the brush and said, “Boo!” She laughed hysterically until Pete walked up behind her and kissed her on the neck and ran his fingers up her skirt. She stopped laughing and pushed his hand away, and asked if the boys had more beers, because Pete only had vodka.

The boys said they didn’t, but she told them to stay anyway, despite Pete’s protests, and when they finished their beers and the half-empty bottle of vodka, Caitlin pouted and whined for more booze. Billy reached into his backpack to grab his baggie of weed, but before he could Pete took out a blunt, lit it, and passed it to Caitlin. She closed her eyes as she filled her lungs with smoke, and Billy stared at her milky legs and her plump red lips, and as she exhaled and slowly opened her eyes, she looked at Billy, and then past him to the dairy, and she said, “Let’s go visit that monster.” 

Kyle groaned and protested and suggested that they go back to Billy’s to drink more of his dad’s beer, but before he finished Caitlin had hopped up and pranced across the emerald field toward the milk house, the studs on her leather jacket reflecting golden in the last minutes of daylight. A few seconds later, Pete sprinted across the grass like a bull in heat, and he grabbed Caitlin just as she reached the door, and she squealed in delight as the two of them disappeared inside. Billy stood up and took a step, but Kyle grabbed his hand and said, “I’m not sure who Caitlin is when she’s with Pete, but the fact is she’s with Pete, so let it go, and let’s go home.”

Billy wanted to listen to his friend, but he was terrified what Caitlin might think of him if he didn’t follow, so he shook off Kyle and hugged the tree line toward the dairy, and Kyle sighed and followed. As Billy pulled open the big metal door, Kyle joked, “If this really is a secret military base, they shouldn’t leave the back door unlocked.”

The failing light cast long, dark shadows across the white tile floors and the water-stained walls of the two-story milk house. It was a big building, five rooms deep with a huge tile staircase that connected the main room to the upstairs. It was unkempt and decaying, with crushed beer cans scattered about the rooms and poorly spray-painted pentagrams and sulfur crosses scrawled across the windows and plaster. In a few of the upstairs rooms the floors had rotted away completely, and in the far corner of the back room there was a gaping hole in the floor, where other kids swore they had seen the monster, but there was nothing.

Caitlin and Pete were laughing in an upstairs room. Kyle sat himself on a ledge, lit a cigarette, and took out his notebook, and Billy started up the staircase, and when he reached the landing, he pretended not to hear her moans. He tiptoed through the hallway and peeked inside rooms until he saw Pete’s pale white ass, and Caitlin bent over with her hands pressed against the wall.

Billy felt sick. He wanted to turn and leave, but his feet wouldn’t move. He wanted to scream, to stop them, but instead he leaned against the wall and said nothing, adrift in his imagination as he listened to her hurried breaths and the slaps of skin. A minute later Pete let out a long, slow groan, and Caitlin laughed, “Oh, it’s OK, premature Petey.”

Pete turned bright red and punched the wall behind Caitlin, and he fumbled to pull up his pants as he raged out of the room. Billy quickly ducked into the adjacent room as Pete stormed by and stamped down the staircase, muttering obscenities and kicking empty beer cans as he disappeared into the back of the milk house. Kyle yelled up, “Can we please leave now?”

Billy peeked out of his room as Caitlin walked out of hers, and as she adjusted her skirt, she smirked and said, “Maybe you should’ve joined us and finished what you started when you kissed me at Pete’s party.” Billy stammered to apologize, ashamed of himself and embarrassed, but when he opened his mouth, he said, “You’re the one who came on to me, Caitlin.”

She giggled and cocked her head to the side, and said, “Is that how it happened?” She slowly started toward Billy, and she put one hand against the boy’s chest and ran her other hand through his hair, and she said, “I saw into your heart, Billy, and for so long I hoped you’d grow a pair and tell me what you felt, or make a move, but you didn’t, so I did, and guess what? You were still too scared to do anything about it, because you’re a scared little boy, lusting after me like all of the other scared little boys, and none of you know how you feel, and none of you actually care about me.”

Billy felt broken. He wanted to show Caitlin that he really cared for her and prove to her that he wasn’t a scared little boy, so he gripped her by the shoulders and kissed her on the lips, and Caitlin kissed him back and pulled him in tighter. Billy turned savage for her love and kissed wildly, and he tasted the salt of her sweat and felt her breasts pressed against his fast-beating heart, and he didn’t hear the footsteps rushing up the staircase.

Pete cinched Billy around the throat and pulled him off Caitlin, and then he punched Billy between the eyes, and when Billy dropped to the floor, Pete kicked him in the ribs, over and over again. Caitlin screamed for Pete to stop, and when she dug her long nails into his thick neck, he swung around and backhanded her, and she collapsed on the floor. Pete raised a foot to stomp down on Billy’s throat, but before he could, Kyle ran down the hallway and shoved Pete, who stumbled backwards and tripped over a door jam and fell into a room where the floor had rotted away. Pete dropped almost 20 feet and hit the white tile floor with a sharp, wet smack, and his blood quickly spread through the grout.

An uncomfortable dark settled inside the milk house as Kyle sprinted toward the staircase and yelled, “Get the fuck up, Billy, we need to help him!” Billy sat up slowly, and when he looked over at Caitlin, she was sobbing uncontrollably with her legs tucked against her chest, and her head hid between her knees. Billy crawled over to her and put his hand on hers, and when she looked at him, he saw the huge red handprint painted across her perfect, blotchy face.

Then Kyle screamed, and when Caitlin and Billy looked over the edge of the rotted floor they saw him standing at the foot of the staircase, and they saw a long, bloody drag mark that trailed across the tile to a corner of the room, and there sat a giant, spindly creature with coarse black hair, and in its yellow claws it cradled Pete’s lifeless body. In that moment Billy realized that the stories his dad told were true, and the Capra Monster was real.

It sat hunched forward with its shoulders slouched low and held Pete like a doll. It had long bone horns that curled and twisted up like ivy, and a head the size of a horse’s, with a long, thin, wrinkled snout covered in scars. Its hooved legs were as long and as bony as its arms, and it had the barrel chest of an ape and the eyes of a tortured man.

“We need help!” Kyle yelled as he sprinted toward the front door. The Capra Man let out a horrible howl and stood tall and terrifying, and it reached out and grabbed Kyle. The creature whipped the boy against the metal door, and then slammed his limp body against the floor, and then the monster fell quiet and stood above the body, frozen until Caitlin screamed. When the monster saw Billy and Caitlin, it thrashed and wailed, and then it picked up the boys’ bodies, put one under each arm, and ran toward the back of the milk house and disappeared into the hole in the floor.

Caitlin covered her mouth with her hands, and tears ran over her white knuckles, and Billy was drowning in fear, too, but he knew he needed to get help if he wanted to save his best friend.

Billy tugged on Caitlin’s arm and tried to stand her up, but she yelped and pulled away from him. Billy bent over and looked her dead in the eye and said, “I can get us out of this,” and he laced his fingers with her, and he pulled her to her feet.

They tiptoed through the hallway and stopped after each step down the staircase, listening for the Capra Man, but they heard nothing. They moved deliberately and quickly, and as they set foot on the first floor Billy felt a twinge of hope, but then Caitlin ran for the door. As she grabbed the handle and pulled it open, a deafening wail boomed through the walls, and the monster came bursting out from the black, and pounced through the rooms of the milk house and grabbed the girl. For a moment it held her softly and studied her sweetly, but then it shrieked and dropped Caitlin to the ground and began clawing at her body like a dog digging a hole in dirt.

Her fingernails scraped against the tiles as she tried to escape, and she screamed for Billy to help, but the boy didn’t move, because the sight of her terrified him: the gashes across her chest, the skin hanging from her arms, the eye ripped from its socket. She screamed at him again, and he cried out, “I’m sorry,” and he ran through the front door.

He ran across the overgrown field, and he ran past the buses and jumped on his motorcycle, and as he did, he felt a sharp pain in his neck. He fell into the grass, and he heard heavy footsteps running toward him, and voices, and then everything went dark. 

When the boy opened his eyes he thought he glimpsed her, alive and unmarred, but then the small concrete room he was in started spinning, and he retched and nearly fell off the side of his cot, but his father was there to catch him. The old man took deep, fast breaths and shook his son to attention, and he told the boy they only had a few minutes to themselves, and that his son needed to listen well if he wanted to leave that place alive.

He told Billy that he had been shot with a tranquilizer dart, and the creature he saw was the Capra Man, and the Wheeler Dairy was a top-secret underground military base, and the Capra Man was an experimental super soldier who had escaped after World War II but was recaptured in the late ’80s, and the military had held him in a cell beneath the milk house until tonight, when it broke free and was subsequently shot dead by soldiers.

The father didn’t look at Billy as he told the boy that Caitlin, Pete, and Kyle were gone, and that the people he worked for had intentions of killing Billy because of what he knew. He told Billy that he had worked out a deal for the boy’s life, but it meant Billy had to keep tonight a secret and lie about how his friends had died, and he begged his son to do what they asked.

Billy felt nauseated again, and he squeezed his dad’s hand and said, “I don’t know who you are.” His father looked at him with tear-filled eyes, and then the door to the room opened. A pot-bellied man in dark sunglasses, khaki shorts, and a Hawaiian shirt walked into the room, and when he did, Billy’s father stood up and saluted. “Sir,” he said, and then he dropped his hand and whimpered, “Please, Steve, it’s my boy...”

The man hushed the boy’s father and told him he needed a few minutes alone with Billy. The boy pleaded for his father to stay, but the old man assured him everything would be OK if he listened and answered any questions asked as honestly as he could. The father kissed his son on the forehead and walked out of the room, and a guard shut the door.

The man used his tongue to move a heavily chewed cigar from one corner of his mouth to the other, and then he grabbed a small metal chair from the corner of the room and slowly dragged it across the concrete floor. He grunted as he sat down, and he unbuttoned his shorts and pushed out his gut, and he said, “Son, you are one lucky boy.” 

The man spoke of “national pride” and “civic duty” and “America’s unflinching might and moral fortitude,” and he made clear the lengths to which he would go to protect the country he served. He said Billy and his entire family were dead if he didn’t do exactly as told, and the man told him to listen and listen well, but the boy couldn’t listen, because the boy wanted death, because he knew it was all his fault.

He should have gone to the lake, or gone home when Kyle wanted to, or ignored the shameful curiosity that lured him upstairs, or done anything to save any one of them from horrible deaths, but he didn’t. He ran away, and he was captured by the corrupt bastards who gave birth to an abomination—a living, breathing weapon, the devil stolen from hell —and those men had the power and influence to keep safe their sinister secrets, and one of those men was his father.

The man grabbed Billy by his hair and pulled his head backward and spit tobacco in the boy’s face as he yelled, “You listening, boy?!” and the boy nodded. He wanted to shout in the man’s pig face, because doing so would undoubtedly bring an end to his suffering, but he didn’t, because of his mom and his sister and what these men would do to them.

The man said, “I want you to understand exactly why you’re leaving this place alive tonight, and I want you to know exactly who your father is, because he is risking everything to save your life...he doesn’t know how to not be a hero, I guess. Without him I’m not sure we would’ve won the war in Vietnam.

“I met him as a snot-nosed grunt younger than you are now, hungry to kill for his country, and I turned him into a war god. I thought he was doping when he proposed the Wandering Soul operation, but I watched from the helicopter as whole villages fled from their homes, terrified by the voices speaking in their native tongue, telling the Viet Cong to desert the army to ‘save their souls’...the man is a poet. He knew how to get under that yellow skin, and the psychological combat tactics he developed are still being used by the military today.

“If your dad wasn’t your dad, you’d be dead, but he is your dad, and he’s a dear friend of mine whom I trust, and he is endangering his own life and the lives of your mother and your sister for you, and it will all be for naught if you can’t keep your fucking mouth shut about what happened here tonight. He says you can because you’re a good boy, and you love your country, but I’m not so sure. Is he right about that, Billy?”

The boy didn’t move, so the man slapped him and told him to speak up, and the boy said, “Yes, sir.” The man reached into his pocket and pulled out a crumpled handkerchief to wipe the sweat from his brow, and he said, “Son, tonight you really are the luckiest boy in America.

“This country is the greatest in the world because of our solidarity in moments like this, when we choose to move forward together and keep one another safe. It’s really too bad about your friends, but I promise we’ll take care of them best we can, and it’s a tragedy that the asset broke free from its confinement, but, son, sometimes shit like this happens. Old Capra is usually a big softie, too, but maybe the fireworks spooked him, like they do dogs, and he got upset, broke loose, and raised hell, and now he has himself hid somewhere in the mountains.”

Billy asked, “I thought you shot and killed it?” and the man smiled and said, “You can’t shoot something that doesn’t exist, can you?” and then he knocked on the door and called for a guard. As the man walked out of the room, he turned back to the boy and said, “We’ll keep an eye on you, so make your country proud, son.”

Mind Haze

Let Your Mind Wander

A film by Sebastien Zanella in association with Firestone Walker


While the modern world has buried every instinct deep within itself, contemporary man has built himself up on walls of science and academic thought, belittling poetry as well as the wilderness.

Despite this course, the caresses of the shore, the fog, the wind, the horizon and the shadows continue to hold the mystery of life for those who have the courage to listen.

 

Where waves crash

 
 
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in the shadow of giants.

 
 
 
 
 
 

The mind wanders

 

by nature's silence.

 
 
 
 
 
 
 

An ancient wilderness

 
 
 
 
 

rooted by the sea.

 
 
 
 
 
 
 
 
 

Its rhythm is simple.

 
 
 

Just be.

Liftoff

A Love Letter to the Stars

A film by Wiley Kaupas | Photos by Lear Miller


Athletes: Austin Hackett-Klaube, Harrison Ory | Filmed by: Wiley Kaupas, Lear Miller, Kasen Schauman | Original Score: Nash Howe

 

What lies above our heads goes on forever.

 
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Forever in motion, and endlessly silent.  

 
 
 
 
 
 

But it calls to us.

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Beckons us to journey into the unknown. 

 
 
 

To search for an end to the endless.

 
 
 
 
 
 

To find weight in being weightless.

 
 
 
 
 

For some, that call is irresistible,

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and the only place that it can be answered

 

is up. 

Soul Crafted

Passion, Purpose & Freedom

Words by Derek Mayberry | Photography by Josh Perez & Levi Tijerina


A film by Daniel Fickle

Over the past few years, the River North Art District (RiNo to locals) in Denver has become a creative hub, with an array of talented craftsmen and women who hone their skills through daily discipline in their chosen trades. To many, the word craftsman brings about visions of an expert tradesman steadily focused on their work, in a harmonious state with their subject, a perfect marriage between lucid awareness and a trained subconscious. We recently spent some time with a few of our friends, including a creative director, a hairstylist, a metal fabricator and an artist to explore what it means to be a craftsman and find the common thread of creativity between their respective crafts and two-wheeled passions.


Josh Wills

CREATIVE DIRECTOR

Josh’s creative roots began in an urban landscape; skateboarding and graffiti art formed the foundation that would eventually lead to his role as a creative director.  He fell in love with design as an art student, where his focus was aimed at T-shirts and skateboard decks. “I was drawn to design because of the passion I saw in designers, passionate about what they were doing; I could tap into that,”  Josh says, recalling a sense of anxiety in the early stages of his design career, along with the uncertainty of paying his way.  He shared the story of how a teacher suggested he settle as a children’s book illustrator, which only fueled his desire to perfect his craft as a creative designer.  Even today, though, there’s a degree of fear and anxiety –  the relentless pressure social media puts on the design community, “you’re only as good as your last piece of work.”

When asked what keeps him motivated, Josh cites the problem-solving aspect of design for hire, and the idea that commercial design work is objective in nature: “It isn’t art, but it can be artful.  It serves a function; it has to work.”  Being able to shape the way people look at a brand or business is another source of motivation, “pushing and pulling levers in people’s minds.”  Josh says design work is not without its challenges, and that it becomes a struggle when trying to develop a shared vision with clients, where there’s a difference of interpretation and things just aren’t connecting. 

Josh grew up in a working-class family. His father hung out with motorcycle clubs, and Josh wasn’t initially interested in riding because he didn’t care to associate with the motorcycle culture he had experienced as a kid.  That all changed when his wife bought him a Harley as a Father’s Day gift.  Josh quickly taught himself how to ride and wondered why he hadn’t done it sooner.  When asked how riding ties into his craft, Josh recalls the places his bike has taken him: old towns, abandoned buildings, and the unique architecture and topography he’s stumbled upon.  “That inspiration gets pulled back into the work I do day in and day out.  When things are clicking in design or out riding a motorcycle, things feel light, free, and effortless.”

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Grace Penhale

HAIR ARTIST

When she’s not riding the streets of Denver on her Sportster, Grace can be found behind a stylist’s chair at her Holistic Salon in RiNo’s Zeppelin Station. Grace’s first real vision of what she wanted in a salon came to her while working with a nonprofit in Spain; she attributes the inspiration to Spain’s culture and the importance they place on living authentically.  Grace feels divinity had a hand in her path as a salon owner/operator, as well.  After completing beauty school, Grace worked at a salon in the Cherry Creek area of Denver and began developing her own business plan for Holistic.  Grace put everything she had into fulfilling her goal of being a salon owner. She hustled, working multiple jobs to make ends meet. She says the hardest part was figuring out the logistics of running a business, including a workable plan and addressing finances.  

She wasn’t always a fan of the Salon’s name, Holistic; however, it aligned best with her desire to provide a space for women to be themselves, and to send them off with a sense of their true beauty, value and identity. 

It’s interesting how the salon business and riding bikes relate for Grace: “It’s the women-inspiring-women aspect.  Encouraging each other to take that leap of faith, even when it’s a little scary.”


Bonnie Gregory

METAL FABRICATOR

Bonnie’s exposure to metalworking started when she was a teen hanging out with her grandfather, who worked on cars.  “I was around a lot of metal. I started welding when I was 15.”  Growing up in a rural community, she was always surrounded by motorcycles and 4-wheelers, and there was always something in need of repair.  Bonnie started out fabricating props and constructed railings, but it was when she worked as an apprentice creating furniture that she felt most creative.  Bonnie says she experiences a calm feeling when welding, a sort of meditation: “The trade attracts the kind of person who appreciates the quiet and wants to still their mind – it’s a place where I want to be; I seek it out.”  She still has the same curiosity and excitement about it as she did when she first began fabricating, and it also helps that she loves the smell of metal.  

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When asked what her biggest challenge has been, Bonnie felt it was the times she’s had to go back to the basics, because “it’s humbling.”  She shared with us the best advice she’s received: “It’s not that you won’t make mistakes; it’s how quickly you stop making them and change your behavior.”  As for her more recent challenges, “Sometimes you can get into a loop in your head being alone, need to take a walk, a drive, a ride, There’s something about moving that helps me figure out the puzzle.” Riding motorcycles and working on metal is an outlet, as it brings her back to her happy place.

Like many, Bonnie’s first experience on a motorcycle was on the back as a passenger, but once she had her hand on the throttle, she knew riding motorcycles would be a big part of her life, because “being in control of a motorcycle, you’re completely free.  Just you and the bike, you and the machine.”  Describing how metalworking relates to riding, she says, “At the end of a work day, going for a ride completely resets stress. I work through puzzles when I ride and think of things in a new way. The feeling I get from my work is wholeness and the feeling I get from riding is freedom.”


Pedro Barrios

ARTIST

Born in Miami and raised in Venezuela, Pedro’s love for art began at an early age. Exposed to different cultures when he was young, Pedro attributes the influence for his artistic style to his multicultural background.  The Denver street artist began taking art more seriously around the age of 19, after backpacking through Europe.  Travel is a big part of where Pedro finds inspiration for his work, and nowadays there’s more intention behind seeking out art wherever he goes, “not just to be inspired, but to also learn about art and color. There’s a lot of influence from all over the world.” Recalling his early days creating art, Pedro started out mimicking the Old Masters, noting what inspired him in finding his own form: “Once you develop your own style, it’s very exciting.”  

Pedro lived in Vail, where he had friends who would travel down to Denver, to a studio called The 400. That’s where he met friend and fellow artist Jaime Molina.  After connecting, trading art, and establishing a mutual respect for each others’ craft, Pedro and Jaime began collaborating regularly. Because each artist brings their own style and influences to the project, Pedro never knows what the final product will look like. “It’s a new experience every single time we paint together. The process is so exciting and fulfilling.”

However, becoming an expert in your craft isn’t without its challenges, and each new project presents unique hurdles. Pedro recalls a mural project he and Jaime completed for New Belgium Brewing.  Painting an intricate mural in the dead of winter on a wall that never receives the warmth of direct sunlight, Pedro and his partner endured frigid temps for a grueling two months to complete the piece. Pedro adds, “No matter how many walls or places I’ve painted, it’s always a new experience, a different texture, substrate, or weather condition. Always a new challenge.” Like all true craftsmen, Pedro is able to appreciate what he gets in return: “I can stand back and truly feel a sense of pride behind it.  That’s my main motivator, one thing that makes me truly happy.”

Pedro grew up around bikes, but it wasn’t until he was older that he took an interest in a motorcycle of his own. When describing the commonality between art and motorcycles, Pedro says it’s the sense of freedom and originality, something he finds common across the motorcycle culture.  “When you get a motorcycle, you instinctively want to make it your own to reflect who you are. Like art, it’s an extension of myself and who I am.”  Like his artwork, Pedro says there’s a shared sense of solitude and focus he gets from riding, because “when I’m painting, I’m concentrating and not really thinking about anything else, except for what I’m doing, and I get that same feeling when I’m riding a motorcycle.”


It can be said that a craftsman’s passion for their work is rivaled only by their desire to experience the freedom it affords. Freedom through focus, creation, and being present in a given moment. When we train our attention on what we love – be it design, fabrication, art, or riding motorcycles – we free ourselves from overthinking and allow ourselves to tune out the static of everyday distractions.  How we pursue our passions is a big part of what defines us, because performed with conviction, they allow us to be free to experience what we truly love.  

Dylan Gordon

Crafted for Adventure

Words by Ryan Hitzel | Photos by Dean Bradshaw


Directed by Dean Bradshaw | Produced by Ben Giese & Dustin Hinz | Edited by Scott Middough

I often wonder what constitutes a “cowboy.” Is it a state of mind, in the blood, just a job, or something learned? Probably all of the above. But we need more of them — they’re loyal, skilled, masochistic, independent and imperfect. In other words: Dylan Gordon.

I first got to know Dylan, or “Doggy,” as it were, on a trip to Northern Vietnam in 2014. He was a gifted photographer with a reckless abandon that fired me up. Born on a horse ranch in San Luis Obispo, California — just far enough away from the hoopla of Southern California to be grounded, but close enough to seek something more — Dylan is a rarity. That was something I admired about him from the get-go and sort of wished I had grown up  under similar circumstances, because it was clear very early that Doggy had a different playbook. Drink more, stay up later, ride faster, and still get the shot type stuff. And if we were real lucky, he’d try to fight someone, or perhaps console them. Cowboy shit.

Life on the ranch for Dylan wasn’t dull, though. His father was a classically trained tinkerer. Always curious, the senior Gordon was influential to Dylan, the kind of guy who could identify problems and solve them with little to no initial knowledge on the subject. From helping to develop the JPG to pioneering live video streaming tech online, his father’s collection of projects was eclectic, to say the least. 

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In his teens as a renowned downhill skater, Dylan was was having gear problems, so his dad chipped away at some modifications to the downhill skateboard and started a company so that Dylan had the best equipment for his pursuit. But the family business was actually training and breaking horses, so Dylan learned the difference between independence and conformity; well-trained horses were both by nature. It was something that also connected him to the outdoors in more profound ways, as all good cowboys are. A connection that would guide him into surfing, motorcycles and adventurism. A landscape where he’d begin to take photos of his and his friends’ antics.

Dylan’s work is somewhat complex. It’s documentarian and honest, but dark and romantic.

It reminds me of Louis L’Amour novels. He seeks the truth relentlessly, but adds his own touch of narrative, enhancing the depth of each moment. His style is evident, whether the subject is a cactus at dusk, a surfer drawing a line somewhere between awkward and revolutionary, or the silence of friends surrounding a bonfire on a lonely beach. If you want something commercial, however — don’t hold your breath. “Making money is sorta lame, not my goal,” he has told me. We’ve spoken extensively on the subject and what it takes to be an uber-successful commercial photographer. Dylan’s take is unique. He’d rather forego the riches of large, prepackaged commercial shoots than abandon his own approach. And it’s not that he couldn’t be successful on a Ford shoot, but he’d be forced to compromise his vision. Indeed, the business of photography can’t break him, much like a wild horse. Because of it, his work is in high demand from the right clients, like his newest partnership with Firestone Walker. Surely, a big part of Dylan’s success can be traced to the sheer passion he has for the subject matter. In order to capture the moment honestly, you have to be part of it, virtually sewn into the fabric of what’s happening, unbeknownst to the cast. It’s the only way Dylan works.

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It’s not surprising that he lives this way, too. Doggy resides in a proper warehouse in Ventura, essentially a massive space portioned into a gallery, darkroom, motorbike garage and living room. Save but a few walls, the space blends together seamlessly: art and photography mixed into a solid library of vinyl and books, a ’76 Triumph t140, a ’66 BSA 441, a KTM 450, a KTM 300 2smoke, a ’98 Harley 113cu, an old espresso machine and an eclectic quiver of surfboards. If you’re wondering, I haven’t skipped over the bedroom; it’s just that he banished it into his Airstream, which sits in the side yard under an avocado tree. Sure, his warehouse could fit the Airstream comfortably, but that would be far too easy and expected.

In some ways, his bikes have taken the place of horses from the days of yore.

He retrains old ones and breaks unwanted traits from new ones. They appear cobbled together and are often loyal only to him. There’s always a touch of Mad Max to his builds, but each bike is always fast and reliable – at least if he’s riding them. It’s hard to believe that Dylan doesn’t channel his Pops when he’s modifying his exhaust or re-skinning a seat with sheep’s wool. If anything, his work is a reflection of himself.

But after traveling with Dylan for a number of years, shooting in places like Vietnam, India, Argentina and Russia, I asked him if he’d like to become an ambassador for our company, Roark, and join the ranks of guys like Jamie Thomas, Jeff Johnson, Alex Andrews and Parker Coffin. On the road, but on both sides of the lens. Initially, his response was vintage D. Gordon, “Thanks, but ambassadors are fake, or at least I’d be, if I was in the shots.” After some convincing, I reminded him that our crew was pretty real, and that he wouldn’t be traveling all over the world shooting, drinking, crying and laughing with the gaggle if it weren’t authentic. It took a few attempts, but Dylan couldn’t be a more candid representative of the brand for such a reluctant ambassador. 

The thing is, Doggy isn’t a contrarian; he just has unwavering principles that steer the ship, even if they brush him up against dry reef every once in a while. He’s a mild masochist with a nose for the hard yards. A month ago, I asked him if he might be interested in joining me and a few friends on a rip from Tijuana to Cabo. Nothing too gnarly, more of a cruise to enjoy the scenery and fruits of the peninsula. He was all in until I revealed that there was a chase vehicle. “Oh dude, that’s pretty soft; I’m out,” he said. “Soft?” I replied. “A thousand miles in the desert on a motorcycle isn’t tough enough? You don’t even have to use the thing!”

Nope, he was out, it wasn’t remotely close enough to his waypoints. I finally had to agree with him, “Yeah, we’re soft.”

A few years ago, Dylan picked up a stray dog in Northern Baja and hasn’t looked back. Bruno travels almost everywhere with him. Riding shotgun, he’s seen more road time than most people I know. The little legend doesn’t leave Dylan’s side and is just as comfortable in the dirt as he is in the Airstream. The added responsibility seems serendipitous, as it paved the way for the birth of Dylan’s daughter, Lenora, last summer. I asked him if having a baby has changed his approach to life? Dylan says that he wants to show Lenora that life can be lived unconventionally and that one doesn’t have to conform to the norms. But he was quick to add that once she needs him to come off the gas, he’ll oblige.

Dylan was raised well, so his life’s direction is purpose-built and grounded. A few months back, I found a note from him in a jacket pocket that was written about a year ago. It came with a bottle of 20-year single-barrel Strathisla Scotch and thanked me for believing in him as a photographer and man. It reminds me that we’ve taken Dylan around the world 8 times over the years, and surprisingly, he’s the only one to have bought me a beer (or whisky) at the end of a trip. A small gesture indeed, but one that hasn’t gone unnoticed.

I’ve seen him pick fights with legends, surf better than the people he was shooting and cry in a lightning storm after missing a shot, just because he didn’t want to let us down. Dylan Gordon runs hot, but never stalls.

Some people draw outside the lines just to break the rules, but he finds beauty in the result.

You see, he’s a cowboy out there on the range just doing his job, but he does it while searching for something greater past the horizon — happy, lonesome and free.

The Story So Far

Vision 2020

Highlights from the last 6+ years of META


As we move into a new decade we wanted to take a few minutes to look back on some highlights from the last 6+ years of META. An anthem for a life well ridden.

Moving into next year our vision is 2020. We are excited to announce that due to high demand and overwhelming support we will be transitioning from publishing three magazines per year to becoming a quarterly publication (four issues per year). Fueled by passion and enthusiasm, our focus on quality over quantity will continue to drive us forward as world-class storytellers and content creators. We value integrity and only produce content that we absolutely believe in and are proud to stand behind. As life-long riders, META bleeds authenticity. We live and breathe this brand, and we tell real stories to inspire real people to live a life in motion.

It's been a wild ride so far and we are so excited to write the next chapter with you. See you out there!

Paradox

Embrace Your Demons

A film by Dylan Wineland | Featuring Aaron McClintock


This isn’t a film about motorcycles, but rather a film about someone transitioning into the better part of themselves. A message not to fight the demons, but accept them as teachers because no matter how fast we run from them, they’ll always be one step ahead. 


Directed by Dylan Wineland

Starring Aaron McClintock

Director of Photography Jacob Callaghan

Cinematography Aiden Ulrich

Assistant Camera Colin Becker

Editor Jacob Callaghan

Assistant Editor Dylan Wineland

Sound Mix Jacob Callaghan 

Additional Sound Keith White Audio

Color Jacob Callaghan

Make Up Sloane Gordon

Title Design Sloane Gordon

Music Jon Hopkins “Singularity” Singularity

Photography Walter Wood and Sloane Gordon

Support from WZRD Media and META